INTERNATIONAL CHALCOGRAPHICAL SOCIETY 
 
 LIST OF 
 
 FOR 1893 
 
 BASEL: Offkntlichk Kunstsammlung. 
 
 BERLIN: KONIGLICHES KuPFERSTICH-KaMNEI . 
 
 — KONIGLICHES MUUSTBRIUM DER GElSTI.K'ilEN (ETC ANGELEGEN- 
 
 HEITEN. (3.) 
 
 BOSTON, U. S. A.: The Gray Collection, Museum ok Fine Arts. 
 BREMEN; Kunstverein. 
 
 BRESLAU: Schlesisches Museum der bildenden KOnste. 
 
 Sammlung DKK Koniglichen Universitat. 
 
 BRAUNSCHWEIG: Herzogliches Kupferstich-Kabinet. 
 
 BRUXELLES: BlELIOTlIEQUE ROYALE D8 BELGIQUE. 
 
 CAMBRIDGE: The Fitzwilliam Museum. 
 
 CHRISTIANIA: Kupferstich- und I Iandzeichnungs - Sammlung. 
 
 DARMSTADT: Grossherzogliches Museum. 
 
 DRESDEN : KtiNic.LicHEs Kupferstich-Kabinet. 
 
 DUBLIN: National Library or Ireland. 
 
 EDINBURGH: Museum of Science and Art. 
 
 FRANKFURT A. M. : Staiiel'sches Kunst- Institute 
 
 GOTTINGEN: Gemalde- und Kupferstich -Sammlung der Universitat. 
 
 GOTH A: Hehzogliches Kupferstich-Kabinet. 
 
 HALLE A. S. : Kupferstich-Kabinet der UniversiTa t. 
 
 HAMBURG: Kunsthalle. 
 
 K0N1GSBERG I. P.: Universitats-Kupferstich-Kabinkt. 
 COPENHAGEN : Konigliches Kupferstich-Kabinet ((lurch I Icrrn Tii.Linu). 
 
 Leipzig i kdnsthistorischkx afparat der universitat. 
 
 LILLE: Musee Wicar. 
 LIVERPOOL: University College. 
 
 LONDON: British Museum, Department of Prints and Drawings (2). 
 
 — Art and Science Department, South Kensington Museum. 
 LYON: Bibmotheque du Palais des Arts. 
 
 MUNCHEN: Konigliches Kupferstich-Kabinet. 
 
 NEW YORK: Library of the Metropolitan Museum of Art. 
 
 Society Library. 
 
 NURNBERG: Germanis'ches National -Museum. 
 OXFORD: Taylor Institution. 
 
 PARIS: Biuliotheque Nationals (pnr Mr J. Bouillon). 
 
 blbliotheque de l'f-cole des beaux-arts. 
 
 — Ministers de j.' Instruction publique. (5). 
 
 SCHWERIN I. M. : Grossherzogliches Kupferstich-Kabinet . 
 STRASSBURG I.E.: Kupferstich-Sammi.ung der Stadt. 
 WEIMAR: Grossherzogliches Museum. 
 WIEN: K. K. Akademie der bildendkn Kunste. 
 
 DR. ISAAC ADLEK, New York. 
 ARCHIBALD JOHN ALLEN, ESQ., London. 
 HERREN AMSLER & RUTHARDT, Berlin. 
 SIGNOR LUTGI ANGIOLINI, Milano. 
 »L'ARTa (le journal). Paris. 
 S. A. R. LE DUC D'AUMALE, Chantilly. 
 THE AUTOTYPE COMPANY, London. 
 S. P. AVERY, ESQ., New York. 
 
 SIR HICKMAN BACON, Thonock Hall Gainsborough. 
 MONS. H. BARBET DE JOUY, Paris. 
 HERR A. YON BECKERATH, Berlin. 
 W. E. BLAKE, ESQ., Wimbledon. 
 
 SCRIBERS 
 
 AND 1894 
 
 DR. W. BODE, Direktor an den Koniglichen Museen, Berlin. 
 
 HERR C. G. BOERNER, Leipzig. 
 
 MONS. LIlON BONNAT, Paris. 
 
 W. E. BOOLS, ESQ., London. 
 
 DR. G. BORSCHE, Kom me men rath , Leopoldjhall. 
 
 I'ROFESSOR DR. BRAMBACH, Karlsruhe. 
 
 DR. JOSEF BRETTAUER. Triest. 
 
 THE BURLINGTON FINE ARTS CLUB, London. 
 
 E. WIDDR1NGTON BYRNE, ESQ., London. 
 HERR J. G. CALVE, Pray. 
 
 HERR LOUIS CHRISTMANN, ZornhofT bci Zabcro. 
 A. H. CHURCH, ESQ., London. 
 MONS. JULES CLARETIE, Paris. 
 MESSRS. CLAYTON & BELL, London. 
 ALFRED COCK, ESQ. Q. C. F. S. A., London. 
 HERR ALBERT COHN, Berlin. 
 
 SIDNEY COLVIN, ESQ., Keeper of the Department of Prints and Draw- 
 
 ings, British Museum, Lnndnn. 
 W. M. CONWAY, ESQ., London. 
 CLARENCE COOK, ESQ., New York. 
 HENRY A. CRAM, ESQ., New York, 
 MONS. A. DANLOS, Paris. 
 MONS. A. DAUPHIN OT, Rheims. 
 
 VICOMTE HENRI DELABORDE, Conservateur honoraire dn Departcment 
 
 des Eslampes, Biliotheque Nationale, Paris. 
 MESSRS. DEPREZ & GUTEKUNST, London. (2). 
 MONS. EMILE DESBOIS, Rouen. 
 
 HIS GRACE THE DUKE OF DEVONSHIRE, K. G-, London. 
 MESSRS. DIETRICH & Cie., Bruxelles. . 
 ARTHUR DIXON, ESQ., Edgbaston. 
 FRAU EMMA DOHME, Berlin. 
 R. DUNTHORNE, ESQ., London. 
 
 MONS. GEORGES DUPLESSIS, Conservateur du Departement des Es- 
 tampes, Bibliothi'tjue Nationale, Paris. 
 
 F. DYKES, ESQ., Wakefield. 
 PROFESSOR DR. E. EHLERS. Gottingen. 
 R. C.FISHER, ESQ., Midhurst. 
 
 DR. THEODOK FRIMMEL, Kustos Adjunct der Kaiser], Kunstsnmmlungen, 
 Wien. 
 
 HERR ALBERT FRISCH, Berlin. 
 
 MONS. CHARLES GADF.N, Bordeaux. 
 
 T. HARRISON GARRETT, ESQ., Baltimore, Md. 
 
 GEORGE GILLFORD, ESQ., Bristol. 
 
 BARON JULES GOETHALS, Bruxelles. 
 
 SENOR CEFERINO GORCHS, Barcelona. 
 
 SIGNOR ANTONIO GRANDI, Milan". 
 
 SIGNOR CARLO GRANDI, Milano. 
 
 R. F. GRAVES, ESQ., London. 
 
 HERR H. GRISEBACH, Architekt, Berlin. 
 
 HERR H. G. GUTEKUNST, Stuttgart. 
 
 T. W. HALL, ESQ., Baltimore, Md. 
 
 DR. F. HARCK, Berlin. 
 
 LAWRENCE HARRISON, ESQ., London. 
 
 CHARLES HARRISON, ESQ., London, 
 
 J. P. IIKSELTTNE, ESQ., London. 
 
HERR KARL W. H1EKSEMANN, Leipzig. 
 ALFRED HIGG1NS, ESQ., London. 
 HERR SIGMUND HINRICHSEN, Hamburg. 
 DR. GEORG HIRTH, Mlinchcn. 
 HOFRATH DR. JULIUS HOFMANN, Wien. 
 J. R. HOLLIDAY, ESQ., Birmingham. 
 
 R. R. HOLMES, ESQ., for the Royal Library, Windsor Castk. 
 GARDINER G. HUBBARD, ESQ., Washington, D. C. 
 REV. J. CLARE HUDSON, M. A., Homcastle. 
 MONS. ERNEST IKROV, Rheims. 
 THEODOR IRWIN, ESQ., Oswego, N. Y. 
 J. W. JACKSON, ESQ., Oxford. 
 
 HERR ALTBURGERMEISTER L. KAUFMANN, Bonn. 
 E, G. KENNEDY, ESQ., New York. 
 COMTE R. DE KERGORLAY, MootpeUicr. 
 PROFESSOR FRANZ X. KRAUS, Freiburg i. B. 
 DR. ERNST KRAUSE, Berlin. 
 DR. KRISTELLER, Berlin. 
 DR. KRONTHAL, Berlin. 
 
 HERR ADALBERT RITTER YON LANNA, Prag. 
 COMTESSE DE LA TOUR DU PIN, Pau. 
 WALTER LEAF, ESQ., London. 
 
 SIR FREDERICK LEIGHTON , Barl. P. R. A., London. 
 
 MONS. LE SOUEF, Paris. 
 
 DR. LIEBMANN, Frankfort a. M. 
 
 FURST NICOLA VON LI EVEN , Fockenhof. 
 
 DR. F. LIPPMANN, Direktor des Koniglichen Kupferstieh-Kabinets, Berlin. 
 
 HERR FRANZ VON LIPPERHEIDE, Berlin. 
 
 FREDERICK LOCKER -LAMPSON , ESQ., London. 
 
 DR. V. VON LOGA, Berlin. 
 
 B. B. MACGEORGE, ESQ., Glasgow. 
 
 THOS. MACLEAN, ESQ., London. 
 
 J. MALCOLM, ESQ. of Poltalloch , London. 
 
 MONS. LtfON MANCHON, Paris. 
 
 MANTON MARBLE, ESQ., New York. 
 
 HERR N. MASSALOFF, Moskau. 
 
 MONS. LUC OLIVIER MERSON, Paris. 
 
 HERR FRANZ MEYER, Dresden. 
 
 W. MITCHELL, ESQ., London. 
 
 W. COSMO MONKHOUSE, ESQ., London. 
 
 ALFRED MORRISON, ESQ., London. 
 
 HERREN FREDERIK MULLER & CO., Amsterdam. (3.) 
 
 CHARLES E. NORTON, ESQ., Cambridge, Mass. 
 
 PROFESSOR DR. W. VON OETTINGEN, DUsseldorf. 
 
 GRAF W. VON ORIOLA, Blidesheim, Hessen. 
 
 J. C. PARROT, ESQ., Lynn, Mass. 
 
 W. 11. PERKY, ESQ., Norwalk, Conn. 
 
 J. F. POWNAI.L, ESQ., London. 
 
 HERR F. A. C. PRESTEI. , Frankfurt a. M. 
 
 E. H. PURDY, ESQ., New York. 
 
 FRANK P. PUTNAM, ESQ., Lowell, Mass. 
 
 STEPHEN E. SPRING RICE, ESQ., London. 
 
 DR. EDWARD RIGGALL, London. 
 
 S. A. LE DUC DE R1VOLI, Paris. 
 
 SIR CHARLES ROBINSON, London. 
 
 HERR LUDWIG ROSENTHAL, MUnehen. 
 
 BARONNE NATHANIEL DE ROTHSCHILD, Paris, (z.) 
 
 BARONNE L. DE ROTHSCHILD, Bruxelles. 
 
 BARON ALPHONSE DE ROTHSCHILD, Paris. 
 
 BARON EDMOND DE ROTHSCHILD, Paris. 
 
 BARON GUSTAVE DE ROTHSCHILD, Paris. 
 
 ALFRED DE ROTHSCHILD, ESQ., London. 
 
 HERREN H. SAGERT & CO.. Berlin. 
 
 GEORGE SALTING, ESQ., London. 
 
 HERR EUGEN SCHWEITZER, Berlin. 
 
 J. E. SCR1PPS, ESQ., Detroit, Mich. 
 
 DR. P. SEIDEL, Berlin. 
 
 DR. W. VON SE1DLITZ, Oberregierungsrath , Dresden. 
 
 HERR H. SEVFFARDT, Crefeld. 
 
 C. L. SHADWELL, ESQ., Oxford. 
 
 JOHN CHALONER SMITH, ESQ.. Bray, Dublin. 
 
 MESSRS. SOTHEBY, WILKINSON & HODGE, London. 
 
 C.J. SPENCE, ESQ., North Shields. 
 
 DR. J. SPRINGER, Berlin. 
 
 DR. RICHARD STETTINER, Berlin. 
 
 B. F. STEVENS, ESQ., London. (2.) 
 
 FURSTLICH STOLBERli'SClIE KUI'FEKSTICH- SAMMLUNG, 
 
 Wernigerode a. H. 
 DR. STRATER, Aachen. 
 HERR SERGE TARASSOF, St. Petersburg. 
 MRS. THEO. THOMAS, New York. 
 CLAUDE M.THOMPSON, ESQ., Cardiff. 
 E. MAUNDE THOMPSON, ESQ., British Museum, Londnn. 
 HENRY F. H.THOMPSON, ESQ., London. 
 HERR FRANZ TRAU, Wien. 
 HERR K. VOGEL, Ingenieur, Berlin. 
 COLONEL J. WATERHOUSE. Calcutta. 
 W. J. WAY, ESQ., Topeka , Kansas. 
 N. H.J. WESTLAKE, ESQ., London. 
 MESSRS. H. WUNDERLICH & CO., New York. 
 DR. ALFRED VON WURZBACH, Wien. 
 DR. ZUCKER, Universitats-Bibliothekar, Erlangvii. 
 
THE MASTER 
 
 OF THE 
 
 AMSTERDAM CABINET 
 
INTERNATIONAL CHALCOGRAPHICAL SOCIETY 
 
 1893 AND 1894 
 
 THE MASTER 
 OF THE AMSTERDAM CABINET 
 
 BY 
 
 MAX LEHRS 
 
 AGENTS OF THE SOCIFFY 
 
 PARIS LONDON BERLIN 
 
 A. DANLOS DEPREZ & GUTEKUNST BERNARD QUARITCH AMSLER & RUTHARDT 
 
 S Quai Malaquais 18 Green Street, W. C. 15 Piccadilly, W. Behrenstrafse 29a W. 
 
 NEW-YORK 
 H. WUNDERLICH K. MEDER 
 868 Broadway 830 Broadway 
 
THE MASTER 
 OF THE AMSTERDAM CABINET 
 
 BY 
 
 MAX LEHRS 
 
 The Master of the Amsterdam Cabinet, whose complete 
 work is now presented by the International Chalco- 
 graphical Society to its members, is so called because 
 most of his engravings — - 80 pieces in all — are preserved 
 in the Royal Print-room at Amsterdam, in which they 
 have been housed since 1806. Elsewhere there is scarcely 
 anything, and merely a few isolated examples are to be 
 found even in the most important collections. 1 Bartsch 
 was acquainted only with the eight which are in the Vienna 
 Print- room , and described them among his anonymous 
 prints. The first critic who recognized their distinct 
 artistic individuality, was Duchesne.- In his judgment, 
 the engraver was a Dutchman who flourished about 1480; 
 and for that reason he styled him briefly "The Master of 
 1480". That date, as he elsewhere assures us, a had been 
 found written upon one of the prints, but unfortunately 
 he neglected to specify the particular example, and it has 
 been vainly sought for, hitherto, in the great collections. 
 
 All the later writers upon the subject — Nailer 
 Passavant, Klinkhamer, Renouvier, Kriiiim, Waagen, 
 Thausing, Willshire, and Dutuit — adhere to the opinion 
 that the Master was a Netherlander; and Renouvier 
 attempted , not however unreservedly, to identify him With 
 liertelmens (or Gillekin) van Overheet, one of the men 
 whose names appear in the rolls of Hurgundian artists. 4 
 llarzen was the first who ventured to differ from his pre- 
 cursors, by asserting that the Master was not a Dutchman, 
 but a South- German ; 5 the very artist, in fact, who 
 designed the illustrations in the so-called Mediaeval House- 
 book in the collection of Prince von Waldburg-Wolfegg. 
 We cannot however agree with llarzen in thinking that 
 the painter, liartholomaeus Zeitblom , is to be regarded as 
 the man; just as we find it impossible to allow that the 
 same hand could have executed the prints we now 
 reproduce, and the far weaker designs which bear the 
 monogram b(X 8. That there is a certain relation between 
 them, had already been observed by Bryan' 5 and Wilson; 7 
 
 ') See the writer's article upon tile number of the artist's prints in 
 various collections, in the Repcrtorium filr Kunstwissenschaft , vol. XV, 
 pp. in— 113. 
 
 '*) Voyage d'un Iconophile, pp. 77 ami 241. 
 
 s ) In vol. V of Laeroix, Lc Moyen-Age. 
 
 *) Histoire, p. 174. See however the Repert. ftlr Kunstw. XI, p. 53, 
 °) Naumiiiin's Archiv f. d. z. K., VI, pp. I and 14. 
 C J Dictionary, 715.5,— where the piint (no. 62) is ascribed to the 
 monogranimi-.t fa (?C 8. 
 
 7 ) Catalogue, p. 105. 
 
 but it is easily accounted for by the fact that hd< 8 
 laboured under the direct influence of the Amsterdam- 
 Cabinet Master, in whose orbit he moved as a kind of 
 artistic satellite, copying or imitating his work. The 
 existence of a series of such copies, reduced and reversed, 
 by the hand of b# 8\ was known to Harzen, by whom 
 it was also remarked that, while the originals (by our 
 Amsterdam Master) had been drawn with the dry point 
 and were all unsigned, the signed copies were done by 
 means of the graver. It is curious indeed that these 
 circumstances should not have opened his eyes to the 
 error of assuming that the two artists were identical ; 
 since they point clearly to a very simple explanation, 
 namely that fa<?( 8 was a copyist working from the anony- 
 mous designs of an abler draughtsman. The correctness 
 of this view can hardly now be questioned. We may 
 even safely assume that — with the single exception of 
 the Passion after Schongauer — all the other pieces 
 engraved by b(X 8 were reproductions or copies of lost 
 originals by the Amsterdam-Cabinet Master, whose manner 
 and style of drawing arc still discernible in the imitations. 
 For that reason, I have appended to my catalogue of the 
 Master's work, a list of those engravings by the imitator, 
 of which no original designs have hitherto been discovered; 
 since it is not impossible that we shall yet meet with 
 some of them. 
 
 Besides the illustrations in the Wolfegg House-book, 
 there is, so far as I am aware, only one other drawing 
 which can be assigned with certainty to the Amsterdam 
 Cabinet Master. This is a design, executed with the 
 silver point and representing a couple of lovers, which 
 was formerly in the collection of Frederick William I, and 
 is now in the Berlin Print-room. Dr. Lippmann, who 
 has published it in a photographic reproduction,' was the 
 first to ascribe it to the hand of the Amsterdam Cabinet 
 Master. 
 
 Von Retberg, 3 and after him Robert Vischer, pursued 
 investigations with the object of discovering to what region 
 or locality our Master belonged. Vischer (in his Studies 
 on the history of Art ;! ) came to the conclusion that he 
 was a native of Rhenish Suabia, and drew attention to 
 the close affinity between the costumes seen in his engra- 
 
 1 ) Zeichnungen alter Meister im Kupferstichkahinet der Ktinigl. 
 Museen 10 Berlin, Part III, no. 51. 
 
 2 ) KultU r g e s c h i c h 1 1 i c h e Briefe. Leipzig, 1865. 
 
 3 ) Stuttgart, 18S6, p. 174. 
 
 1 
 
2 
 
 vings, and those in Wolgemut's "double- portrait", of 1473, 
 at Dessau. Not only do we find in his artistic manner 
 the peculiar quality and essence of the Suabian school, 
 but a further testimony in the same direction is furnished 
 by the House - book, which belonged originally to the 
 Goldasts, a South-German family, and in which the 
 antler- crest of Wiirttemberg, and the Werdenstein and 
 Krbach escutcheons frequently appear. 
 
 We observe, in the works of our Master, little if 
 any trace of the influence which his great artistic con- 
 temporaries might have been supposed to exercise. Only 
 a single design — Mary Magdalen borne heavenward by 
 angels (no. 50) — is suggestive of indebtedness to another. 
 He was apparently unable in this instance to withstand 
 completely the attraction of the Master E S (P. 179) 
 whose illustration of the same subject already enjoyed 
 a wide popularity. 1 On the other hand, he seems to have 
 been wholly free from any subjection to the potent influence 
 of Martin Schongauer which was dominant throughout 
 Germany, and by which even the greatest artists were 
 affected — I need only allude to the elder Holbein and 
 to Albert Diirer. Passavant and Harzen profess to have 
 discovered in the style of our Amsterdam Master a strong 
 impress of the character of Van Eyck's school, but to 
 me it appears very slight indeed. 
 
 With regard to paper -marks, which usually furnish 
 effectual aid towards ascertaining the neighbourhood in 
 which an artist resided, we obtain unfortunately but little 
 help from the engravings of the Amsterdam Cabinet 
 Master. Only eleven of his prints bear such marks, and 
 even these are but fragmentary, in consequence of the 
 small size of the paper. 2 The little bull's-head, with 
 rod and star, a South German mark which is frequently 
 seen in the prints of E S and of Schongauer, occurs here 
 in three instances (nos. 7, 53, 67); and we find the bull's 
 head with horns curving outwardly, twice (nos. 9 and 54). 
 The Netherlandish Gothic \1 , with or without a flower, 
 is seen four times (nos. 13, 26, 29, 44); and the little 
 heart without a cross, which is a Lower Rhenish mark, 
 once (no. 74). I have been unable to make out the mark 
 on no. 50. 
 
 The period of the Master's activity is substantially 
 covered by the last quarter of the fifteenth century, but 
 it is impossible to determine it by any precise limit of 
 years, since none of his works is dated or dateable. There 
 is a strong probability that the original — not known to 
 be now extant — from which the monogrammist b(X 8 
 copied his design of the Rohrbach-Holzhausen arms 
 (no. 1 17) was engraved before 1467. 3 Behind that date 
 we can hardly venture to go very far for the earliest efforts 
 of the Master. The costume of his figures corresponds so 
 
 ') Single figures, out of groups engraved upon I'laying-Cards nmi 
 other pieces liy the master E S, are to be found borrowed or imitated 
 in the Wolfegg House-book, but only upon the leaves which bear 
 coloured illustrations, by a different hand apparently from that of the 
 Amsterdam Master. 
 
 3 ) I examined carefully all the 80 prints of the Amsterdam Cabinet, 
 when, released from their card-board mountings, they were sent to Berlin 
 Tor the purpose of the present reproduction. 
 
 s ) See the catalogue of German copper- engravings of the fifteenth 
 century in the Germanisehes Museum. Nllmberg, 1887, — p. 28 etc. 
 
 closely with the fashion of 1473 — as we find it in the 
 above-mentioned "double-portrait" of Wolgemut — that it 
 helps to confirm the assumption of 1467 as an initial date. 
 
 In freedom of drawing, the Amsterdam Cabinet Master 
 is superior to all other engravers of the fifteenth century. 
 His works were almost wholly executed with the dry point, 
 and printed in a soft greyish tint, which in combination 
 with the breadth and softness of the lines, imparts much 
 of the character of drawings in silver point. They look like 
 etchings on a soft metal — lead or zinc — slightly touched 
 with the graver. The artist, unlike most of his contem- 
 poraries, betrays an inclination to deal with incidents of 
 ordinary life; a line in which he was decidedly more 
 successful than in religious subjects. While in his saints 
 and Madonnas he now and then creates types of rare 
 ugliness, he manages to throw into the youthful female 
 heads which appear among his sketches in the Wolfegg 
 House-book, as well as in the prints representing incidents 
 of secular life, a charm and sweetness of expression such 
 as had not been seen before his time except in the designs 
 of Schongauer. His skill in rendering the effects of relief 
 and distance in landscape backgrounds is masterly, and 
 the influence which it exercised upon Diircr's technical 
 education is very considerable. 1 lis figures are marked 
 by a somewhat strained rendering of bodily proportions; 
 there is nothing about them of that leanness — a fashionable 
 taste of the time — which appears in the figures drawn 
 by the Master E S and by Schongauer. Their attitudes 
 and movements are frankly natural, and evince in the artist, 
 a keenness of observation which, at times, reminds us 
 distinctly of Rembrandt. In the delineation of animals, 
 especially dogs, no one comes near our Master. The 
 sketch of a bulldog scratching his neck, has a realistic 
 force of which there is no other example in the fifteenth 
 century, and to which Diirer himself with his tendency to 
 conventionalise animal -figures, would not have ventured to 
 give expression. On the other hand, our Master's horses 
 are rather wooden and stiff-limbed; their heads usually too 
 small, and their legs heavy and thick. We have examples 
 of his fine sense of heraldic style, flavoured now and then 
 with a delightful humour, in the drawings of escutcheons. 
 These are sometimes blank shields to be completed by 
 the hand, and are sometimes filled up by the engraver 
 himself, in a free play of fancy, with laughable designs 
 such as that ot the old woman winding yarn, the topsyturvy 
 rustic or the figures with leeks, radishes etc. 
 
 There is nothing whatever in the Master's work of 
 the class of mere decoration, no designs for monstrances, 
 censers, or croziers; and we may assume that, unlike 
 nearly all the engravers of his time, he did not belong to 
 the Goldsmiths' guild, but was a painter who amused 
 himself in exercising his faculty of design upon metal 
 plates. The engravings give us altogether the impression 
 of etchings by an amateur. To this cause we may, at 
 least in some measure, ascribe their extraordinary rarity; 
 not forgetting the circumstance that unsigned prints of 
 early date are ever wont to become scarcer than signed 
 ones, and that Schongauer's and Durer's works owe their 
 comparative frequency of occurrence to-day to the mono- 
 grams they bear, which have at all times been in high repute. 
 
CATALOGUE OF THE ENGRAVINGS 
 OF THE 
 
 AMSTERDAM CABINET MASTER 
 
 In the following list of prints executed by the Master of the 
 Amsterdam Cabinet, the letters "Le" appended to the description 
 of the eighty pieces in the Amsterdam Print -room , is a 
 reference to my article in the Repertorium ftir Kunstwissen- 
 schaft , 1 in which I have collected all the existing information 
 relating to each piece, and specified all the accessible repro- 
 ductions. At every stage in that notice, Passavant's account 
 of the prints is quoted , and my reasons for disagreement 
 given in detail. There is consequently no reason for encum- 
 bering the present catalogue with a repetition of what lias 
 been already stated there. 
 
 Four of the prints assigned by Passavant lo the Amsterdam 
 Cabinet Master are excluded from the following list, as having 
 been visibly the work of another hand. They are — 
 
 The Lady with the waiting maid. P. II, 260, 
 30. Dresden. Pa VIA I Malaspina collection. 
 
 By an anonymous engraver, probably of Lowit- Khcnish 
 origin. The drawing is essentially weaker than that of the 
 Amsterdam Cabinet Master, the figures stiffer ami less natural; 
 while the treatment of the ground, thickly covered with grass 
 and flowers, is quite different from that of the Amsterdam 
 prints, and the technique is less easy and artistic. The blurred 
 impression of the Dresden example makes the print look like 
 an etching with the dry point ; hut it was recognised hy 
 Hnrzen' J as an engraving, and he also saw that it was not the 
 work of our Master. 
 
 The Kneeling Lady with the escutcheon. 
 P. II, 262, 50. Oxford. 
 
 This is a characteristic example of the earlier work of the 
 Master E S, to whom Duchesne 3 had already correctly assigned 
 it. It farms a pendant to the Lute-player. I'. II, 64, 190. 
 
 Portrait of an old man. P. II, 263, 58. Basel. 
 
 Paris: ISibliotlieque Nationale and Rothschild collection. 
 
 By the Master W 3*8 ! an exact pendant to the Portrait 
 of a young lady (Naumann's Archiv VI, 114, 124) with 
 which the print also corresponds in tire, liar/en has included 
 both works in juxtaposition in the oeuvre of his "Harthnlo- 
 maeus Zeitblom", whom he identifies with the Amsterdam 
 Cabinet Master; but he states expressly that the man's 
 head is etched while the woman's is engraved. The former i> 
 indeed a specimen of the widely practised use of the dry point, 
 only the heaviest lines of the impression, as on the dress, the 
 
 ') Vol. XV, pp. 1 11 — 126. 
 
 "J Naumann's Archiv, VI, 119, 4. 
 
 a J Voyage d'un lconophile, p. 363. 
 
 turban , and the window - frames , being strengthened with the 
 Darin; while the female head in the Hamburg print is purely 
 the result of engraving. Two other heads, at Hamburg and 
 Berlin, elsewhere described by Harden as nos. 121 and 122, 
 are similar in showing no trace of dry-point work, and were 
 done entirely with the graver.' It had been intended to com- 
 prise in the present reproduction the Head of an ( >kl Man 
 (P. II, 263, 58) but we have finally decided to exclude it, as, 
 from a close comparison of the originals,* it proved, notwiths- 
 tanding its different technical treatment, to have emanated from 
 the same hand that executed the three engraved heads. Moreover, 
 the Rothschild print, and its pendant at Hamburg, had both 
 come from the Lloyd collection, 1 in the catalogue of which 
 the two pieces are indicated in immediate succession — a sort 
 or collateral evidence of their original relationship. 
 
 Head of an old Man with a beard. P. II, 
 
 2 63 • 59- Amsterdam. Weimar. Vienna: Hofhihliothek. 
 By Wenzel of OlmtlU. His monogram is on the left , below. 
 Passavant, p. 137, no. 78, correctly includes the print in his 
 list of Wenzel's oeuvre.* 
 
 In the Statement of dimensions in the following catalogue, 
 the height as usual precedes the breadth. The addition of 
 "PI." signifies the size of the plate, "I.." the size of the leaf 
 of paper in those instances in which the plate • mark is no 
 longer visible ; and the phrase " border- lines" signifies the 
 lines drawn by the artist as a frame around his subject. 
 
 By far the greater number of the heliogravures in the 
 present treatise are derived from the originals in the 
 Amsterdam Cabinet. From examples in other collections, the 
 following numbers are taken: nos. 1 and 3, from originals in 
 the Albertina at Vienna; no. 26, Public Art Collections at 
 Basel; 0 and 27, Bibliotheipie Nationale, Paris; 29 and 53, 
 Knnsthalle at Hamburg; 34, British Museum, London; 57, the 
 collection of the late Mr. John Malcolm of Poltalloch ; 75, the 
 Ducal Collection of Engravings in the Coburg Citadel; 82, Count 
 Mattzan's collection at Militsch ill Silesia; 84, Royal Print- 
 room at Dresden. 
 
 ') Heliographs of the three prints, H. 121, 122, 124, are to be 
 found in the ordinary issue for 1S90 of the International <_'halcographical 
 Society's Publications, nos. 14, 15, 16. 
 
 *) Thanks to the obliging readiness of the directors of the print- 
 rooms at Basel, Berlin and Hamburg, we were enabled to collate and 
 compare at once all the four impressions of the print. 
 
 s ) London, 1825, nos. 946, 947. 
 
 *) See Lehrs, Weniel von Olmtitz (Dresden, 1889), no. 5S. 
 
 I* 
 
OLD TESTAMENT 
 
 *) 1 — 4. Four Prophets. A series of four prints. B.X, 49, 21 — 23- 
 P. 0, 297. 12—14- Le. 4—5- 
 
 1. First Prophet. 129 : 53 mm PI. B. X, 49, 21. Le. 5 a. Brandes 
 
 sale (Leipzig 1795), 3 Thalers, bought for the Albertina. 
 Vienna: Albertina. 
 
 2. Second Prophet. 131 : 56 mm L. : PI. B. X, 49, 22. P. II, 257, 
 
 13. Le. 4. Brandes sale (Leipzig i?95). 1 Thlr, 4 Ngr. bought 
 for the Albertina. Amsterdam. Vienna: Albertina. 
 
 The Amsterdam impression is a good one, but spotted with 
 red colour. 
 
 3. Third Prophet. 130:54 mm PL B.X, 50, 23. P. II, 257, 14. 
 
 Le. 5b. Brandes sale (Leipzig 1 795), I Thaler, bought for the 
 Albertina. Vienna: Albertina. 
 
 4. Fourth Prophe 
 Amsterdam. 
 The three 
 
 141 
 
 L. 
 
 P. 
 
 ,ler, bought 
 257, 12. Le. 5 
 
 94 i 83 mm L. 
 155, 2. Dutuit, 
 
 5. Samson slaying the Lion. 91:82 mm 1 
 
 Le. 6. Amsterdam. 
 
 6. D e 1 i 1 a cutting off Samson's hair. 
 
 Naumann's Arcliiv VI, 97, 3. (llarzen.) P. II, 
 
 Manuel V, 135, 2. PARIS. 
 
 The print at Paris is of fairly good impression, but soiled 
 and spottc'd with red. The plate-marl; is only visible on 
 the right side, and the lower corner on the left is deficient. 
 Hutuit states that this little piece had belonged, according to 
 Kaiser, to the "StathouderV collectinn which was carried in 
 
 t it was not relumed in I S 1 5 with 
 Whether this be correct or not, 
 0. 5. 
 
 mm in width of border - lines, 
 . X, 1, 1. P. II, 256, 3. Le. 7. 
 Thlr. 15 Ngr. bought for ihe 
 1850), 7 £ 7 sh. bought by 
 
 its entirety to Paris, anil th 
 ihe rest of the collection, 
 the print is a pendant 10 t 
 
 Solomon's Idolatry. 15. 
 
 t£io mm in width of plate. I 
 
 Brandes sale (Leipzig 1 705) , 
 
 Albertina. Hawkins sale ( Londoi 
 
 Tiffin for the British Museum. Amsterdam. London. Vienna: 
 
 Albertina. Wolfegc. 
 
 The circular border, or frame-line is not wholly preserved 
 in the magnificent Amsterdam impression. The Albertina 
 example is also very fine, but has been repaired. The peak 
 of Solomon's shoe, and Ihe fluttering string- oT his fillet, seem 
 to be completed by restoration. Paper-mark: the small bull's- 
 head with rod and star. 
 It is a pendant to no. 54. 
 
 NEW TESTAMENT 
 
 The Annunciation. 137:84mm within border-lines. P. II, 
 256, 4. I.e. 8. Bammeville sale (London 1S54), 1 £ I sh. bought 
 by Colnaghi. Amsterdam. 
 
 The Amsterdam impression is very fine. As to ihe present 
 whereabouts of the Bammeville example, 1 have failed tn obtain 
 any infornialion. 
 
 The Visitation. 140:88 mm within border-lines. B. X, 2, 3. 
 P. 11, 256, 5. Le. 9. Amsterdam. Vienna: llof hibliothek. 
 
 The Amsterdam impression is excellent. The Vienna print 
 is fairly good, but somewhat cut in the width, and in the 
 upper pari. The paper-mark in the laller is the bull's head 
 with horns curving outwardly. 
 
 The Adoration of the three Kings. 167: 
 
 L. : border-lines. P. II, 264, 2. Le. to. AMSTERDAM. 
 
 The Amsterdam impression is very fine, but ihe I 
 of the print is cut.' 
 
 109 ] 
 
 *) The numeral I 
 1 the reproductions. 
 
 adopted here > 
 
 .'spnnds with the 
 
 ') The passage in Ileinecken (Neue Nachrichlen I, 304, 37) cited by 
 me in the Repertoriuin, ha> reference, not to this engraving, but tu that 
 of the Master with the Crab P. Ill, 18, 27. 
 
 The Circumcision. 167: 1 to mm within border-lines. 
 264, 1. Le. 11. Amsterdam. 
 
 The face of the Saviour is unfortunately damaged 
 Amsterdam impression, which is otherwise excellent. 
 
 •r- lines : L. P. II, 265, . 
 but the print is cut 1: 
 
 12. Christ betrayed. 04:43 m 
 Le. 12. Amsterdam. 
 
 The Amsterdam inipressiui 
 the left. 
 
 13. The Bearing of the Cross. 129: 193 mm within border- 
 lines. P. II, 25G, 6. I.e. 13. Brandes sale (Leipzig 1795). 
 7 Thlr. now at Coburg. Amsterdam. Couoro. Militscii: Maltiao 
 collection. 
 
 The impression in the collection of Count Mallzan at Mililseh 
 is excellent; the paper-mark is a flower, probably a fragment 
 of the Gothic \1. The Amsterdam impression is even better, 
 but there is a hole in the upper part. 
 
 13a. Reverse-copy of the principal group. 120:116 mm PI. 
 B. VI, 17S, 14 and X, 4, 8. P. II, 149, 24. See Repert. f. 
 Kunstwissenschaft, X, p. 265, note 31. Dresden. Vienna: 
 Hofbibliothek. 
 
 14. The Crucifixion. 123 : 74 within border-lines. P. II, 265, 7. 
 Le. 14. Amsterdam. 
 
 There is a hole in the middle of the Amsterdam impression, 
 and a portion of the Saviour's loin-cloth is restored. 
 
 15. The Crucifixion. 155:99 1 
 
 order- li 
 
 P. II, 265, 8. 
 
 VARIOUS SACRED SUBJECTS 
 
 16. Heads of Christ and the Virgin. 73 - 1 ■ 5 
 P. II, 259, 27. Le. 16. Amsterdam. 
 
 17. The Child - Saviour bestowing a blessing. 
 164:33 mm L. P. II, 258, 2G. Le. 17. Amsterdam. 
 
 The impression is extremely fine. 
 
 18. The Good Shepherd. 115 : 82 mm border-lines. P. II, 
 266, iS. Le. 18. Drugulin's sale XX. (Leipzig 1862). AMSTERDAM. 
 
 The impression is fairly good. 
 
 19. The Man of Sorrows. 167:35 ■»"■ p - u - 2b6 - 17- 
 Le. 19. Amsterdam. 
 
 The impression is extraordinarily fine. 
 
 20. The body of Christ supported by two Angels. 
 101:72 mm border-lines. P. 11, 266, 16. Le. 20. Amsterdam. 
 
 The impression is excellent. 
 
 21. 
 
 The Trinity. 
 I.e. 21. Amstekda 
 
 24 :90 
 
 border -lines. P. II, 267, 
 
 The plate is thickly covered with horizontal >cr 
 graver; but the impression is wonderfully fresh. 
 
 22. The heraldic symbols of the Passion, 
 border-lines. P. II, 266, 20. Le. 22. Amsterdam. 
 The impression is extraordinary fine. 
 
 VIRGINS AND HOLY EA MI LIES 
 
 23. The Virgin on the Crescent. 94^45 mm l.; border- 
 lines. P. II, 266, 12. Le. 24. Amsterdam. 
 
 Very fine impression. 
 
 24. The Virgin on the Crescent, with the starry 
 
 crown. 87:50 mm border-lines. P. II , 266, 13. Le. 23. 
 
 A MS 1"; 
 
 An impression of great beauty. 
 
5 
 
 25. The Virgin suckling the Child, with seven 
 Angels doing reverence. 131 : 78 mm L. : border-lines. 
 P. D| 265, 11. Le. 25. Amsterdam. 
 
 Very fine impression, but cut in the lower part, 
 
 26. The Virgin and Child, a fruit in the Saviour's 
 hand. 177:96 mm PI. P. II, 256, 8. Le. 26. Amsterdam. 
 Basel. Dusseldorf. 
 
 The Basel impression (paper- mark : the Gothic ^.t without 
 a flower) is cut all round. The Amsterdam impression is cut, 
 below and on the left, somewhat more deeply than the Basel 
 print, but not so much on the right. The Virgin's face is a 
 little damaged. Only the Dusseldorf impression has Its full 
 plate -margin. 
 
 27. The Virgin and Child, on the crescent, an 
 apple in the Saviour's hand. 187:121 mm border- 
 lines: L. Renouvier, Des types et des manieres etc. {XV* Siecle) 
 p. 94. Naumann's Archiv VI, 103, 46 (Harzen). P. II, 256, 9. Paris. 
 
 This charming print, engraved with a firm and sure hand, 
 is remarkable for the breadth and boldness of its execution. 
 The Paris impression is a fine one. 
 
 28. The Holy Family by the Rose-bush. 143:115 mm 
 border-lines, p. II, 257, 10. Le. 27. Amsterdam. 
 
 Unfortunately the impression is rubbed and in poor condition. 
 
 29. The Holy Family. 151:95 mm border -lines, h 98 mm PL 
 P. II, 265, 9. Le. 28. Amsterdam. Hamburg. 
 
 The Amsterdam impression is tinted in yellowish - brown, 
 relieved with white lights. The Hamburg print has a fragment 
 of the Gothic ^' fur its paper-mark. 
 
 30. Bust of St. Anne. 86:76 mm L. P. 11, 265, 10. Le. 29. 
 Amsterdam. 
 
 The impression is singularly fine, but black and heavily 
 printed. It is slightly cut on the right side, and at bottom. 
 
 SAINTS 
 
 31. St. Christopher. 123 : 73 mm border-lines. P. II, 258, 22. 
 Le. 30. Amsterdam. 
 
 32. St. Christopher. 166 : 106 nun border- lines. P. II, 258,23. 
 Le. 31. Amsterdam. 
 
 A very fine impression. 
 32a. Reverse-copy, by Israhel van Meekenem. B. VI, 231,90. 
 
 border-lines. P. II, 258, 25. Le. 32. 
 
 33. St. George. 141:1140 
 
 Amsterdam, Paris. 
 
 The Paris impression is magnificent, the one at Amsterdam 
 not quite so fine. 
 
 34. St. George. 143:105 mm. Duchesne, Voyage p. 376. Nau- 
 mann's Archiv VI, 103, 50. (Harzen). Willshire, Cat. II, 222. II. 105. 
 Photograph in Prints and Drawings in the British Museum, Part. Ill, 
 plate VII; and a photogravure in "Reproductions of Prints in the 
 British Museum", New Series, Part. II, plate XIX , (1889). 
 Buckingham sale (London, 1S34), £ 4. 10 sh. bought by Benard. 
 Palmer sale (London 1868), £ 34. 10 sh. the same copy, bought 
 for the British Museum. LONDON. 
 
 One of the Master's finest prints, remarkabl 
 tional force and : 
 
 35. St. John the Baptist. 122:41 mm L. P. 11,257, 15. Le. 35. 
 Amsterdam. 
 
 The impression is singularly fine, but a little cut on the right. 
 
 36. Head of St. John the Baptist. 53:50 mm 1.. P. II, 
 257, 17. Le. 33. Amsterdam. 
 
 A splendid impression, but somewhat cut at both sides. 
 
 37. St. John the Baptist's head on a charger. 
 88:89mm L. P. II, 257, 16. Le. 34. Amsterdam. 
 
 Fine impression. The plate mark is visible on the left side 
 and below. 
 
 38. St. Martin. 192:132 mm L. : border lines. P. II, 258, 24. 
 Le. 36. Amsterdam. 
 
 A good impression , but unfortunately Spotted and soiled. 
 The lower corners are deficient. 
 
 37- 
 
 39. St. Michael. 139:88mm border-lines. P. II, 266, 14. Le. 
 Amsterdam. 
 
 40. St. Paul. 116:49 mm L. P. II, 258, 18. Le. 38. Amsterdam. 
 
 The impression is very fine, but cut slaniwise in the 
 upper part. 
 
 41. The Conversion of St. Paul. 136 : 75 mm border-lines. 
 P. II, 256, 7. Le. 39. Amsterdam. 
 
 An impression of the greatest beauty. 
 
 42. Martyrdom of St. Sebastian. 87 51 mm border- lines. 
 P. II, 258, 19. Le. 40. Amsterdam. 
 
 An impression of exceptional power and beauty. 
 
 43. St. Sebastian. 93 : 42 mm border-lines. P. II, 258, 20. Le. 41. 
 
 Amsterdam. 
 
 A very fine impression. 
 
 44. Martyrdom of St. Sebastian. 129: 192mm border-lines. 
 P. II, 258, 21. Le. 42. Amsterdam. 
 
 A very fine impression. The paper- mark is the Gothic II 
 without a (lower. 
 
 45. St. Barbara. 121 : 38 mm border- lines. P. II, 268,39. Le. 43. 
 
 A pendant to the St. Catherine (no. 47). The impression 
 
 is very good. 
 
 46. St. Barbara. 126 : 82 mm L. : border- lines. P. II , 259, 28. 
 Le. 44. Amsterdam. 
 
 A very fine impression , but pricked for the purpose of 
 tracing. It is cut in the lower part, and the upper 1 
 
 47. St. Catherine. 119:38 mm border - lines. P. II, 268, 38. 
 Le. 45. Amsterdam. 
 
 A pendant to the St. Barbara (no. 45). Very fine impression. 
 
 48. St. Dorothy. 96 : 46 mm border-lines. P. II, 268,40. Le. 46. 
 Amsterdam. 
 
 A very good impression. 
 
 49. St. Mary Magdalen. 123 : 89 mm border-lines. P. II, 269, 
 42. Le. 47. Amsterdam. 
 
 A fine impression, but unfortunately soiled. 
 
 50. St. Mary Magdalen. 194:135 mm l - P- n . 26 9, *i. 
 
 Le. 48. Amsterdam. 
 
 A pale impression, spotted, and restored throughout. The 
 paper-mark is indistinct. 
 
 SECULAR SUBJECTS, 
 HEADS, AND FIGURES OF ANIMALS 
 
 51. A naked woman and her children, upon a stag. 
 106 : 78 mm L. P. II, 254, 6. Le. 57. Amsterdam. 
 
 Pendant to no. 52. A good impression , but cut on the 
 
 left side. 
 
 52. A wild man upon a unicorn. 93:84 mm L. P. II, 
 254, 5. Le. 58. Amsterdam. 
 
 Pendant to no. 51. An impression of the utmost beauty, 
 but somewhat cut all round. 
 
 53. Combat of two wild men on horseback. 
 
 125 : 192 mm PI. P. II, 259,31. Le. 67. Ottley sale (London, 1S37), 
 £ 2. 2 sh. bought by Harzen and now in Hamburg. Amsterdam. 
 Hamburg. 
 
 The Amsterdam impression is cut on the left side , split 
 from top to bottom through the middle, very defective, and 
 restored. The paper-mark in the Hamhurg impressioo is the 
 small bull's-head, with rod and star. 
 53a. Reverse-copy by Israhel van Meekenem. B. VI, 280, 
 200. P. II, 194, 200. 
 
6 
 
 54. Aristotle and Phyllis. 155 mm, width of border-lines. 
 B. X, 51, 26. P. II, 261 1 42. Le. 70. Brandes sale (Leipzig, 1795). 
 loThlr. now at Coburg. Praun sale (Ntlrnberg, 1802), probably 
 now at Vienna. Amsterdam. Coburg. Oxford. Vienna: Hof- 
 bibliothek. 
 
 The Amsterdam impression is very fine, but about 15 mm 
 of the upper part are cut away. It has the paper-mark of 
 a bull's -head, with horns curving outwardly. The Vienna 
 impression is equally line, but is cut all round to within the 
 border-lines, and is also somewhat defective on the left side. 
 The Coburg impression has had Schongauer's mark added lo 
 it, on which account this print, as well as the other ten pieces 
 of our Master, was ascribed to Martin in the Brandes catalogue 
 (II, no. 4718). 
 
 1 owe to Dr. Kriedrich Lippmann the very plausible sug- 
 gestion that the Aristotle is a pendant to the similar -sized 
 and similarly round -shaped print of Solomon's Idolatry (no. 7), 
 and that both pieces are satirical illustrations of the follies 
 of Sages in Love. 
 
 55. The Young Girl and the Old Man. 101:91 mm l. : 
 
 bolder -lines. P. II, 263, 55. Le. 63. Amsterdam. 
 
 A pendant to no. 56. The impression is weak, and the 
 print is cut so near to the heads that only the ends of the 
 inscribed scrolls remain visible. 
 55a. Reverse-copy by Israhel van Meckenem. B. VI, 266, 170. 
 P. II, 194, 180, and 263, 55, copy. 
 
 56. The Young Man and the Old Woman. 125:97mm 
 border-lines. P. II, 263, 54. Le. 62. AMSTERDAM. 
 
 A pendant to no. 55. Fine impression but heavily printed. 
 The upper comer on the right is deficient 
 
 56a. Reverse-copy by Israhel van Meckenem. B. VI, 266, 
 169, and 303, 127. P. II, 194, 169, and 263, 54, copy. 
 
 57. The three living, and the three dead Ki rigs, 
 
 124! 190111m PI. Willshirc, Cat. II, 220. II. 103. Repcrturium 
 flir Kunstw. XII, 28, 7. London: Malcolm collection. Stuttgart. 
 
 The excellent impression at Stuttgart , which has its full 
 plate-mark, has been clumsily repaired in various places, as, 
 for instance , on the left shoulder of the King seen from 
 behind, whose hair is defective and made up with the aid of 
 the pen. l)r Lippman has drawn my attention to a mono- 
 grammatic symbol on the saddle-band of the King on the 
 extreme left. It is formed somewhat in this fashion: o $ I., 
 but seems however not to refer to the engraver. 
 
 58. The Young Man and Death. 141 : 85 mm L.:PL p. 11, 
 
 261, 41. Le. 69. Amsterdam. Vienna: Hofbibliothek. 
 
 The magnificent impression at Amsterdam it a little cut : 
 The Vienna impression is not quite so good, and is cut all 
 round , besides having been considerably repaired and made 
 up in the upper pari, and especially on the right side. There 
 is at Amsterdam a careful pen and ink copy of the engraving, 
 but this likewise is cut all round. 
 
 58a Copy of the Voung Man's figure, with alterations. 
 P. II, 2S6, 13. Kepertoriuin f. K. XV, p. 123. DRESDEN. 
 
 59 — 61. Children playing. A series of three prints. P. II, 
 
 262, 51 — 53. Le.49— 51. 
 
 59. An Infant seated. 48:44 mm L. P. II, 263, 52. Le. 49. 
 Amsterdam. 
 
 The same figure , but reversed , appears in. the border- 
 decoration of the miniatures in the unfinished Prayerbook of 
 Duke Kbcrhard the Bearded , now in the Royal Library nt 
 Stuttgart (Brev. Q. I, fob 42 recto). The miniaturist had 
 probably before him a reverse - copy ( no longer extant ) of 
 our print, made by the monogram mist t^(X S- 
 
 60. Two Infants at play. 74:64 mm L. P. II, 262, 51. I.e. 50. 
 Amsterdam. 
 
 A weak impression. The eyes of the children have been 
 pierced with a needle. 
 60a. Reverse-copy by the monogrammist g\ P. H, 122,35. 
 
 61. Two Infants at play. 52:69 mm L. P. IT, 263, 53. Le. 51. 
 
 Amsterdam. 
 
 The impression is cut all round, most heavily at lop and 
 bottom. 
 
 fits. Reverse-copy by the monogrnmmist b$C 8*. P. II, 122, 37. 
 
 With regard to four other prints originally belonging to this 
 series, but now preserved only in copies by the monogrammist 
 t>0C 8". sec nos. 93 — 96 below. 
 
 62. The Bagpipe - player. 79:53 nan L. P. II, 269, 56. 
 Le. 53. Amsterdam. 
 
 The platemark is visible only on the right. 
 
 63. Two Peasants wrestling. 77:68 mm L. p. II, 259, 32. 
 
 Le. 52. Wilson sale (London 1S28J, of prints from the Lloyd 
 
 collection. Amsterdam. 
 
 The Amsterdam impression is very fine, but a portion of 
 the print is deficient in the middle below. I do not know 
 where the Wilson impression is now to be found. 
 
 64. Peasants at market. 79 1 55 mm L: PI. P. II, 261, 43. 
 
 Lc. 54. Amsterdam. 
 
 The plate-mark is visible at both sides and below, not in 
 the upper part. The design shows through the paper, at the 
 back. It is a pendant to no. 65. 
 64a. Reverse-copy by the monogrammist b<?( 6*. P. II, 121,29. 
 64b. Reverse-copy by Wensel von OlmUt*. B. VI, 335, 46. 
 Lebrs 59. 
 
 65. The Vagabond. 82 : 61 mm L.: PL P. II, 262, 45. Le. 55. 
 
 Amsterdam. Paris. 
 
 The Amsterdam print is somewhat inferior to the splendid 
 Paris impression. This is a pendant to no. 64. 
 
 65a. Reverse-copy bythe m o n og r am m t s t (X ff. P.II, 123,43. 
 65b. Reverse-copy by Wenzel von Olmlltz. P. II, 136,73. 
 Lehrs 60. 
 
 66. The Youth and the two maidens. 93.83mm L. 
 P. II, 260, 37. L. s6. Amsterdam. 
 
 The Upper corners are deficient. The sky and clouds arc 
 touched in with pen and ink. 
 
 67. The Stag-hunt. 93:172111m border- lines. P.II, 259, 33. 
 Le. 59. Amsterdam. 
 
 The paper - mark is the bull's head, with frontlet, rod, 
 
 68. The two Monks. 95:78mm L.: border-lines. P. II, 259, 29. 
 Le. 60. Amsterdam. 
 
 The print is cut in the lower part, and somewhat smaller 
 than no. 69, to which it forms a pendant. 
 
 69. The two Nuns. 98:79 »>"> border-lines. P. II, 259, 30. 
 Le. 61. Amsterdam. 
 
 Pendant to no. 68. There is a hole in the scroll on the left. 
 
 70. The Falconer and his attendant. 125: 72mm 1.. 
 P. II, 260, 38. Le. 64. Amsterdam. 
 
 The Amsterdam impression is somewhat cut in the lower 
 part; perhaps also in the width. Consequently it may be 
 regarded as a pendant to no. 71. 
 
 71. Two men conversing. 128 : 91 mm border - lines * l.. 
 P. II, 261, 40. Le. 65. Amsterdam. 
 
 The impression is very fine, but the border-lines are only 
 visible above and below, and the upper corner on the left 
 is deficient. Probably a pendant to no. 70. 
 
 72. The Departure for the Chase. 125:92mm border- 
 lines. B.VI, 307, 168. P. II, 260, 34. Le. 66. Amsterdam. Berlin. 
 
 There are traces of colouring on the Berlin impression which 
 is badly damaged. The Amsterdam print is much better, but 
 the upper corner on the right is deficient. 
 
 73. The Card-players. 130: 120mm border-lines, p. 11,360, 35. 
 
 Le. 68. Brandes sale (Leipzig 1795). 5 Thlr., now at Coburg. 
 Amsterdam. Coburg. Oxford. 
 
 The Amsterdam impression is very good. 
 
7 
 
 74. The Turk on horseb ack. 166 : 108 mm bonier -lines. 
 B. X, 52, 28. P. H, 261, 44. Le. 72. Brandes sale (Leipzig 1795), 
 
 6 Thlr. 16 Ngr. now at Coburg or Vienna. Amsterdam. Coburg, 
 London. Vienna: Albertina. 
 
 The London impression is cut in the upper part and on 
 the left. It was mentioned by Waagen, as far back as 1854 
 (Treasures 1 , p. 291 ) as a work of German art. In the 
 Amsterdam print, the sky is restore J, but the impression is 
 finer than that of the Albertina. The paper- mark in the latter 
 is a small heart without a cross. 
 
 Besides the print itself, there was also in the Brandes collec- 
 tion (Catalogue, no. 4713) an old design of the same subject, 
 bearing Schimgauer's mark, and, according to Huher, executed 
 with so much delicacy as to create a doubt whether it was a 
 drawing or an engraving. 
 
 75. The two Lovers. 167:107 mm horder-lines. Duchesne, 
 Voyage, p. 77. Naumann's Arehiv VI, 109, 87 (Harzen). Renou- 
 vier, lies types etc. (XV e sieclej p. 94. Rennuvier, Histoire, p. 154. 
 1'. II, 260. 36. Photographic reproduction in Lelirs, Weasel von 
 Olmlltz , plate III , fig. 6 (Paris). Brandes sale (Leipzig 1 795 ), 
 
 7 Thlr. 16 Ngr., now at Coburg. Coburg. Paris. 
 
 The Paris impression, although a good one, is soiled, ami 
 ■ inferior to that at Coburg. 
 
 75a. Reverse-copy by the monogrammist b(X 8 B. VI, 76, 21. 
 75b. Copy by Wenzel von OlmUtz. B. VI, 336, 48. Lehrs, 68. 
 75 c. Reverse-copy by Israhel van Meckenem. B. VI, 271, 1S1. 
 7Jd. Niello -copy by Peregrino da Ceser.o. Naumann's Arehiv 
 VI, p. 109. 
 
 A honk - cover, made of leather partly incised , which is 
 preserved in the Vienna Ilufbildiothck , exhibits the design in 
 reverse, derived probably either from 75a or 75c. 
 
 This much-copied print is one of the most charming design* 
 produced by the Matter. The sweet shyness of the maiden, 
 the tender glance of the lover, the soft pressure of their hands, 
 are rendered with inimitable grace. The work is altogether oT 
 such exceptional (juality that we may count this delightful pic- 
 ture as one of the rarest gems of German engraving in the 
 fifteenth century. The copies are naturally far inferior to the 
 original design. 
 
 Duchesne apparently saw the print in the Vienna Hof- 
 iiibliothek , where, however, only the copy by Wenzel von 
 ObnUtz is to he found. Passavant also (II, 134, 4S J mistook 
 the latter for the original design, and supposed that the Vf 
 had been added liy means of a stamp. Renouvier was the first 
 who recognised the true original of the three copies which 
 had been described by Bnrtsch. 
 
 76. Portrait of an old man with a beard. s6:46mmL. 
 P. II, 263, 57. Le. 72, Amsterdam. 
 
 The impression is cut like a silhouette, but the border-lines 
 are still visible on the left and below. 
 
 77. A Study of two heads. 84:29 mm L. v.n, 263, 56. 
 Le. 73. Amsterdam. 
 
 An excellent impression, but n little cut on the left side. 
 
 78. A sitting Bulldog, scratching himself. 
 113:112 mm L. P. II, 272, 70. Le. 74. Amsterdam. 
 
 The impression could not he surpassed, but it is unfiirlima- 
 tely cut out like a silhouette. 
 
 ESCUTCHEONS 
 
 79. The Peasant with the blank shield. 7« n,m width 
 of the outer border- lines. P. II, 262, 47. Le. 75. Amsterdam. 
 A pendant to no. 80. In the fine Amsterdam impression, 
 an armorial bearing has been inserted with pen anil ink: party 
 per pale, a lion on the left, barry on the right. 
 
 80. The Peasant woman spinning, with the blank 
 
 shield. 79 mm width of the outer border-lines. P. II, 262, 4S. 
 Le. 76. Amsterdam. Oxford. 
 
 A pendant to no. 79. The Amsterdam impu-sion is fine, 
 but we can discern some marks of an erased armorial bearing, for- 
 merly added upon the shield. 
 
 81. The Peasant woman with the shield bearing a 
 Sickle. 81:81 mm L. P. II, 270, 60. Le, 77. AMSTERDAM. 
 
 The left upper corner of the print is deficient. 
 
 82. The Mother with two children and the blank 
 
 shield. 93 : 73 mm PI. Undescribed. Mii.ITSCH IN Silesia : 
 Maltzan collection. 
 
 A pendant to no. 83. The excellent impressions at Militsch 
 of both prints, have still their full paper margins (181 : 1 27 mm). 
 82a. Reverse-copy by the monogrammist p0( 8 P. II, 122, 33. 
 
 83. The bearded Man, with the blank shield. 
 93:72 mm PI. B. X, 46, 16. P. II, 262, 46. Le. 78. Amsterdam. 
 Berlin. Militsch in Silesia: Maltzan collection. Stuttgart. 
 Vienna: Ilofbibliothek. 
 
 Pendant to no. 82. The Amsterdam impression is singularly 
 fine; that at Vienna, though a very good one, is soiled, and 
 is cut upon three sides. The Berlin impression was formerly 
 in Nagler's collection; the Stuttgart example was found among 
 the drawings of Tobias Slimmer, whose name has been written 
 in the shield by some ignorant person. The print at Militsch 
 has its full margins, and is an excellent impression, with no 
 drawback but a few wormlioles. 
 83a. Reverse-copy by the monogrammist g B. VI, 73, 14. 
 
 84. Tlie Lady with the radish in her escutcheon. 
 
 05:79 mm L. Heinecken, Nene Nachriehten I, 355, 325. Naumann's 
 Arehiv VI, 117, 150. (Harzen.) P. II, 270, 59. Dresden. 
 
 A pendant to no. 85. Harzen is mistaken in stating that 
 there is an impression at Berlin. No other is known at present 
 than the slovenly printed example at Dresden , which was 
 examined by Heinecken and Passavant. 
 
 85. The Youth with the leek in his escutcheon. 
 
 96:80 mm L. P. II, 270, 58. Le. 79. Amsterdam. 
 
 Pendant to no. 84. The impression is weak and spotty, 
 and has decorative work added in ink at the four corners. 
 The plate-mark is still visible on the right side. 
 
 86. The Lady with the helmet and escutcheon. 
 
 124:85 mm border-lines. P. II, 262, 49. Le. So. Buckingham 
 sale (London 1S34), £ I, 10 sh. bought by Ottley, now in London. 
 Amsterdam. Dresden. London. 
 
 The Amsterdam print is an impression of great beauty, as 
 is likewise the one in London, formerly in the De Vinde and 
 Buckingham collections. The Dresden example is not so good. 
 
 87. An Escutcheon with a woman winding yarn. 
 126.78 mm L. P. II, 263, 60. Le. 81. Amsterdam. 
 
 The impression is singularly tine. 
 
 88. An Escutcheon, with combatants and jugglers. 
 136:74 mm L: border-lines. P. II, 264, 61. Le. 82. Amsterdam. 
 
 A very fine impression. The border-line at the top is no 
 longer visible. 
 
 89. The Escutcheon with the peasant standing 
 on his head, r : 83 mm border-lines. 138:85 mm L. P. II, 
 264, 62. Le. 83. Brandes sale (Leipzig 1795), 3 Thlr. now at 
 Coburg. Amsterdam. Coburg. London. 
 
 89a. Reverse-copy by Israhel van Meckenem. B. VI, 277, 194. 
 P. II, 194, 194. 
 
 89b. A copy made in the sixteenth c en tu ry , with the inscription 
 "Amor vineit omnia" above , and "Interdum varietas delectat" 
 below. Naumann's Arehiv VI, 117, 148, copy (Harzen.) Le. 83 
 copy. WoLFEGG. 
 
8 
 
 COPIES 
 
 made by the monogrammist b<* & from original engravings which are as yet 
 undiscovered, or no longer extant. 
 
 (Nos. 90 — 119 are not reproduced among the illustrations.) 
 
 St. Antony visiting 
 
 159 : 107 mm bonier- lines. T 
 Print-room. DRESDEN! Collect 
 
 St. Paul the Hermit 
 II, 120, 23. Berlin. Dresden 
 n of Friedrich August II. 
 
 The Wild men. 147:90m] 
 
 Rothschild colleetinn. Pavia: Hall 
 
 The Infant with the bowl on the grass. 6: 
 width of border- lines. B. VI, 74, 18. Vienna: Hofbibliothek 
 
 The Infant in the bath. 77:66 
 Vienna: Hofbibliothek. 
 
 border- lines. B. VI, 76, 22. Paris: 
 aina collection. Vienna: Albcrthuu 
 
 B. VI, 73, i S . 
 
 B.VI, 74, 16. 
 
 The Child on the grass. 74-641 
 
 Vienna: Hofbibliothek. 
 
 Two Children at play. 84:76mm Pi. P. II, 122,34. 
 Dresden. 
 
 Two Children at play. 85 :76mm Pi p. 11, 132,36. 
 Dresden. Munich. 
 
 The originals arc still extant of two other prints belonging 
 to this series of illustrations of childhood. Sec nos. 60, 61. 
 96a. Eleven naked children invarious attitudes. 149:98 mm PI. 
 B. X, 100, 6. Vienna: Albertina. 
 
 This piece was formed by combining the eleven child -figures 
 which appear in nos. 59 — 61, 92, and 94 — 96 of our catalogue. 
 The copyist and compiler was an engraver of no great 
 merit. As the figures which correspond to thnse still cstant 
 of the original series, maintain the same relative positions, 
 while those of the monogrammist b(X 8 - ,IL ' reversed, we may 
 assume that the combined copy was made directly from the 
 originals. Bartsch erroneously describes the print as a playing- 
 card, and HaneD (Naumnnn's Archiv VI, 115, 136) follows 
 him in that statement. 
 37. The Robber and the Old Woman. 83:50mm L. 
 P. II, 122, 32. I before, II after the signature. Kl. Oei.s : Collec- 
 tion of Count York (II). Paris (I). 
 
 The impression of the first state, before the monogram, 
 is preserved in Paris among the engravings of the Amsterdam, 
 Cabinet Master. This circumstance misled Dutuit (Manuel V, 
 p. 144) into citing the print as an undcscrilied work of that 
 artist, notwithstanding his recognition of its decided inferiority 
 to the genuine pieces. 
 
 98. The Married Man subjugated. 85:78 mm L. 
 
 P. II, 123, 45. Paris: Rothschild collection. There is no monogram, 
 but wc assume that it has been cut ofT. 
 
 99. The Fool and the Kitchen-maid. 86:59 mm Pi. 
 P. II, 121, 27. I before, II after the monogram. Berlin (I). 
 Oxford (II). Paris: Rothschild collection (H). Woi.feco : Collec- 
 tion of Prince Waldhurg-Wolfegg (U). 
 
 00. The two Beggars. 87:76mm PI. P.II.120,24. Munich. 
 
 Paris: Rothschild collection. 
 □ 1. The two Lovers by the fountain. 89mm, width of 
 border-lines. B. X, 47, 17. P. II, 240, 207. Vienna: Hofbibliothek, 
 Unsigned, but certainly by the monogrnmmist The 
 engraving is, in its sue and manner, quite similar to the 
 following pieces (nos. 102 — 104). 
 
 02. The two Card-players. 89mm width of border- lines. 
 P. II, 122, 31. Munich. 
 
 03. The Repast in the garden. 90mm width of border- 
 lines. P. II, 120, 25. Paris. 
 
 04. The two Musicians. 93 mm width. B.VI, 75, 19. 
 
 Kl. OHLS: Count York's collection. Oxford. 
 
 05. A Beggar, drawing his wife along in a basket. 
 
 S6:I27mm border-lines, (i 136mm W. Naumann's Archiv, VI, 
 110, 99 (Har/en). Paris: Rothschild collection. 
 105a. Reverse-copy of the same design, by an inferior 
 engraver. 92: 129 mm. P. II, 270, 57. Oxford. 
 
 Among the sculptures of the frieze in relief on the south side 
 of the Town-hall of Breslau, just below the roof, there is a free 
 
 IO8. 
 IO9. 
 
 PI. B. VI, 72, 13. Dkeshln. 
 
 Paris: Rothschild 
 
 : 137 mm L. P. II, 
 
 , 220, copy. London. 
 
 HID) was looked upon 
 
 ier of this print, or of the original by the Amsterdam 
 Cabinet Master. A youth is pushing the basket from behind. 
 
 Balthasar Jenichen also made a free copy nf this design, 
 lie added a landscape in the background of his engraving 
 (A. 252), and put a whip in the woman's hand. 
 
 A Beggar carrying his wife in a wheelbarrow. 
 
 98: 157mm L, B. VI, 75, 20. P. II, 121, 28. Dresden. London. 
 
 Oxforij. PARIS: Rothschild collection. 
 
 A pendant to no. 105, and copied, like it, in the reliefs of 
 the Breslau Town -hall. Instead of a switch , the woman holds 
 a slick (which was easier to execute in stone), and an idiot 
 strides on in front with fife and drum. 
 
 The two Riders. 143 : 166 
 
 Feu iSBERG: Prince Lichtens twin's collectioi 
 
 collection. VIENNA : Hofbibliothek. 
 
 The Lovers, half-figures. 15; 
 1*3, 41. Paris: Rothschild collection. 
 A Pilgrim. 156 :89 mm PL P. H, 24: 
 Munich. 
 
 The cut impression in the British Mil: 
 by Passavant as a copy. The print, is 
 
 The Fo o 1 dancing and the Old Woman. 
 175:209 mm PI. P. II, 123, 44. Militsch in Silesia: Maluan 
 collection. Paris: Rothschild collection. 
 
 The Old Woman and the Fool, 181:158 mm Pi. 
 P. II, 121, 26. Fiii.nsiiERi; : Prince Lichtenstein ' s collection. 
 MiLiTscn in Silesia: Maltinn collection. Oxford. Paris : 
 Rothschild collection (2 copies). Vienna: Hofbibliothek. 
 The Egg-seller and the woman with ducks. 
 
 185:116 mm L. P. II, 123,42. Paris: Rothschild collection. 
 
 The Family of Apes. 115:86mm. Wiltshire, oatH. 390. 
 London. 
 
 The Peasant with the blank shield and the leek. 
 90mm, width of the outer border-lines. B.VI, 74. 17. FRANK- 
 FURT a. M. London. Paris: Rothschild collection. Vienna: Hof- 
 bibliothek. WOLFKOGl Prince Wald burg -Wolfe gg's collection, 
 ^a. Reverse-copy. 52 mm width of outer borders. 51 154 mm PI. 
 P. Ill, p. 49S, Add. Lehrs, Kat. d. German. Museums, 31, 86. 
 NtJRF.MHF,R<:. Paris: Rothschild collection. 
 The Peasant- woman with the blank shield 
 and the glass. 92mm width of outer border*. P. II, 121, 30. 
 Berlin. Frankfurt a. M. Paris : Rothschild colli 
 Prince Waldburg-Wnlfegg's collection. 
 
 A pendant to no. 114. A woodcut revi 
 woman, but without the shield 
 Acorns of a sixteenth -century pa 
 Repertorium f. K. XI, 53, S. 
 
 The Escutcheons of the Rohrbach and Holz- 
 hausen families. 97:94 mm PI. P. II, 123, 40. Militsch 
 in Silesia: Maltian collection. Munich. Paris: Rothschild collection. 
 Besides the three examples mentioned, I know of no old 
 impressions , while modern impressions are to he found in 
 nearly every collection. See my observations upon this print 
 in the Kat. d. German. Museums, p. 28, no. 85. 
 
 Ornamental Foliage, 1 19 : 80 mm L. P. II. 123, 39; 
 and 283, 58. London. Oxford. Paris: Rofhschild collection. 
 
 Ornamental Foliage, with two birds. 
 
 119:92 mm PL Naumann's Archiv VI, 1 18, 156 (Hnrzen). Hamhurg. 
 Pendant to no. 1 19. 
 Sa. Reverse-copy by the monogrammist ^ 124:98mm PL 
 P. II, 244, 237. Munich. 
 
 Passavant overlooked the signature. 
 
 Ornamental design of Thistles, with a Wild 
 mail. uS:oimmL. P. II, 122:38. Berlin. Oxford. Paris. 
 Pendant to no. 1 tS. 
 
 m. Wotndo: 
 
 - copy of the 
 found on the Three of 
 cards at Wolfcgg. See 
 
59