R. EDERHEIMER PRINT CABINET 366 Fifth Avenue New York Special Catalogue No. 3 jUartm ikfjonpuer 1445-1401 «. 103 Sljr (float of Anna of jfamtly van Valotngrr AN EXHIBITION OF ENGRAVINGS BY THE MASTER TO BE HELD AT THE ADJOINING GALLERIES OF 0lx. Cberfjetmer anb 366 Fifth Avenue, New York December 1911 Ikscripttbe Catalogue OF AN Exhibition of Engravings BY Jfflarttn g>d)ong;atier WITH AN INTRODUCTION BY (Eberljeimet To be begun Wednesday the Sixth of December, and to last until the end of the month. NO. 366 FIFTH AVENUE NEW YORK COPIES OF THIS CATALOGUE SEVENTY-FIVE CENTS ARRANGED AND PRINTED AT THE GOERCK ART PRESS 925 SIXTH AVE., NEW YORK Digitized by the Internet Archive in 2015 https://archive.org/details/descriptivecatalOOscho THE VIRGIN RECEIVING THE No. 2 of Catalogue ANNUNCIATION ;f£z_: 1! _ ->c^^ INTRODUCTION HREE years ago, after my exhibition of engravings of Lucas van Leyden, (a great artist presented for the first time in America in such a col- lective display) the dean of dealers of engravings in this country, asked me smilingly, "Now I wonder which of us is going to hold the first Schon- gauer exhibition in this city?" Ever since that day this ambition has never left my mind, and in the meantime I have had the opportun- ity of realizing the difficulty of the task. For a while the meagre results of extended search in various art centers of Europe led to the belief that a worthily representa- tive exhibition of Schongauer was very nearly impossible of achievement, so rare are his great plates, and so hard to find even the lesser ones. This summer, however, renewed search was rewarded by better fortune, and I have the pleasure of now pre- senting, in the adjoining galleries of Mr. George S. Hellman and my own, 45 prints of Martin Schongauer, including most of the important works of the first great master of engraving in the 1 5th century. Among the prints here shown are some which the collector must be glad to have, even if they are not in quite that perfect condition which he does well to insist upon in pur- chasing the works of great artists whose engravings are more 3 easily obtainable. A careful examination of the European museums leads to the conclusion that even those prints that have been somewhat mended are well up to the average that can now be obtained abroad, when a collector is lucky enough to find them at all, and the beauty and rarity of these pictures in these instances are ample compensation for what they may lack in a few technical points. But if we can speak with such con- viction of what may be termed the lesser creatures among these "rara aves" what shall we say of many of the very greatest plates of Schongauer here included in the very finest states? "Christ Carrying the Cross" and "St. James, assisting the Chris- tian Army against the Saracens," are only two of the very rarest and most important plates in the history of engraving which can be here obtained in the very finest condition. Years may pass by before such prints can again be acquired in such states. Let it be admitted that such a collection of Schongauer could hardly have been brought together without a little good luck, which in my case took the form of meeting by a mere chance, last summer in Paris, a gentleman well known as one of the greatest of American collectors of rare engravings. I have previously had the pleasure of disposing for him of a considerable number of great Diirers, duplicates from his collection. It is no breach of confidence to name him — Mr. Junius S. Morgan. When it may be added that eleven of the most notable engrav- ings in the present exhibition, made available through Mr. Mor- gan's friendly and greatly appreciated interest in the idea of a Schongauer exhibition, have been purchased by me from his private collection, further emphasis need hardly be laid on the rare opportunity here afforded to American collectors. 4 B. 3 THE ANNUNCIATION No 3 of Catalogue Martin Schongauer S IS the fact with almost all masters of the 15th century, very little is known about the life of Schongauer. Even the dates of his birth and death are the subject of much diver- sity of opinion, Bartsch giving the years 1445-1486 or 1499; Ottley, 1453 to 1499; Dr. A. v. Wurzbach, tries in a long article to fix the date of birth about 1450 and, in another essay, 1488 as the date of Schon- gauer's death. This latter date is based on an entry in the Civil Reg- ister of Schongauer's native city, Colmar. But by others it is maintained that this entry must have been due to some clerical error. Personally I prefer to accept the dates of that great authority, Lippmann, who states the years to be 1445-1491. It is apparent that Schongauer's artistic inclinations were strongly affected by the Dutch painters of the 15th century, especially Roger von der Weyden and his school. In Schon- gauer's interpretation of his religious characters there is that deep and sincerest inspiration such as is seen in the paintings of Fra Angelico. His angels and Virgins are striking in their supreme nobility, and it is hard to imagine more dignity and fine- ness than in his conception of Christ. In fact it is this type, created by Schongauer, that has appeared again and again in the works of Diirer and Raphael, as in the art of later times. Especially notable is the divine repose and attitude charac- teristic of the figure of Christ when appearing to Mary Mag- dalen as a gardener, (B. 20). This same type is again met with in the representation of God in the prints (B. 70, 71, 72) Nos. 38-40 of this catalogue. This leads to the opinion that the authorities may not have used the right titles for these engrav- 5 ings, which, however, being once established, are quoted here despite the temptation to believe that Schongauer intended to represent Christ and not God in these three plates. This opinion is confirmed by the representation of God in "The Annunciation" (B. 3) where an absolutely different type is shown. Although Schongauer was one of the first masters in the art of engraving and the first German whose name has come down to us, no later work surpasses his fine composition of "Christ Carrying the Cross" (B. 21). The grouping, landscape, and characterization combined with the technical supremacy, make it no exaggeration to style this plate as "the masterpiece of engraving." A curious sense for the grotesque is shown in the famous engraving representing "St. Anthony tormented by the Demons," (B. 47) ; and that the master did not lack a sense of humor is proved in his few subjects of everyday life, here represented by the delightful little genre scene, "The Departure for the Market," (B. 88) a print which seems to have influenced Lucas von Leyden in his "The Wandering Musicians," (L* Es- piegle), (B. 159). Although each print of Schongauer shows his famous mono- gram, none bears a date, making it thus practically impossible to illustrate his development by his works. Attempts along this line have been made (Wurzbach) but as they cannot pos- sibly be supported by proofs, they have only the interest of per- sonal suppositions. The descriptive notes in the following catalogue are based on Ottley. Care has been exercised in describing the prints in this collection just as they are ; but, indeed, it is difficult to give any adequate idea of the charm and beauty of these rare engrav- ings, so ardently sought after by modern collectors and so diffi- cult to obtain. It gives me pleasure to take this opportunity of expressing my appreciation to those European dealers who have been of assistance to me in the formation of this collection, and especially to Mr. Junius S. Morgan and Mr. George S. Hellman for their collaboration. RICHARD EDERHEIMER. 6 THE ADORATION OF THE MAGI No. 6 of Catalogue Catalogue i The Angel of the Annunciation Bartsch i Ottley i Wurzbach.77 He is standing and turned towards the right. He has a sceptre in his left hand, and with his right appears giving the benediction. Fine early impression in perfect condition, slightly worn, on paper with the water mark of the Bull's head. 2 The Virgin Receiving the Annunciation B. 2, O. 2, W. 78 The companion of the last described. She is stand- ing turned toward the left, where on the ground is a vase of flowers. Very fine early impression in beautiful condition, with the water mark of the Bull's head. From the Theobald Collection. (See reproduction.) 7 3 The Annunciation B. O. 3, W. 48 The Virgin is kneeling on the right, and behind her, on the left, is the Angel also kneeling, although in consequence of the high point of sight chosen by the artist the figure has somewhat the appearance of flying. A vase containing a lily stands in the foreground on the left, and in the sky is the Almighty, surrounded by rays of glory. One of the most beautiful compositions of the master. Very fine and in good condition. From the collec- tion of Mr. J. S. Morgan. (See reproduction.) 4 The Nativity B. O. 5, W. 50 The Madonna is represented kneeling, adoring the Infant Jesus, who is lying on the ground, behind which are the ox and the ass ; and in the back- ground on the left is seen Joseph, accompanied by a female ; in the sky, toward the left, are three little angels, whose bodies terminate in the tails of birds, holding a scroll. Good early impression on paper with the water mark of the Gothic P. Early but too dark, in parts almost looking like a mezzotint. 8 B. 7 THE FLIGHT INTO EGYP T No. 8 of Catalogue 5 The Same Lighter impression but worn. 6 The Adoration of the Magi B. O. 6, W. 5 The Madonna is seated, with the Infant on her lap, on the left. One of the kings is on his knees before him. The two others with the attendants are be- hind on the right. Brilliant early impression, with numerous but very clever repairs. (See reproduction.) 7 The Same Very fine, a little less brilliant, but with less re- pairs. From the Liphart and J. S. Morgan collec- tions. 8 The Flight Into Egypt B. O. 7, W. 6 The ass, bearing the Madonna with the Infant on her lap, is turned towards the right. Behind on the same side is Joseph, who is represented pulling down and gathering dates from a palm tree ; as- 9 sisted in the operation by five little angels. The design is upon whole an extremely beautiful one, although the ass is too small for his load. Unusually strong and brilliant impression. (See reproduction.) 9 The Same Less strong but very fine, on paper with the Gothic P. From the J. S. Morgan Collection. 10-21 The Passion of Christ B. O. 9 to 20 W. 12 to 23 A set of twelve prints. As a complete set of the greatest rarity. The impressions are early and uniform and aside from a few repairs of great brilliancy. 10 Christ Praying on the Mount of Olives B. O. 9, W. 12 Strong and early impression, paper with the water mark of the Bull's head. Repaired at the lower right. 11 Christ Taken in the Garden B. 10, O. 10, W. 13 10 B. 18 THE ENTOMBMENT OF CHRIST No. 19 of Catalogue (FROM THE PASSION) Very fine and early impression. Water mark of the Bull's head. 12 Christ brought before the High Priest B. O. ii, W. 14 Very fine, on paper with the Gothic P. 13 The Flagellation B. O. 12, W. 15 Very fine. 14 Christ Crowned with Thorns. B. O. 13, W. 16 Very early. Thin in spots, apparently once mounted. 15 Christ Before Pilate, Who Is Represented Washing His Hands B. O. 14, W. 17 Very fine impression. 16 Christ Presented to the People B. O. 15, W. 18 Very fine, on paper with the Gothic P. 17 Christ Bearing the Cross B. O. 16, W. 19 Good impression, a little worn. 11 1 8 The Crucifixion B. O. 17, W. 20 Very fine impression on paper with the water mark of the Bull's head. 19 The Entombment of Christ B. O. 18, W. 21 Very fine impression. (See reproduction.) 20 Christ's Descent Into Limbo B. O. 19, W. 22 Impression of great brilliancy, on paper with the water mark of the Bull's head. 21 The Resurrection of Christ Good impression with little margin. 22-23 Duplicates from the Passion Set 22 Christ in the Garden Good later impression. 23 Christ Crowned with Thorns Very beautiful impression. 12 B. O. 20, W. 23 B. O. 9, W. 12 B. O. 13, W. 16 B. 25 CHRIST ON THE CROSS No. 25 of Catalogue 24 Christ Bearing the Cross B. O. 21, W. 24 This piece which contains upwards of thirty fig- ures, merits perhaps to be considered upon the whole as the artist's most capital production. "THE MASTERPIECE OF ENGRAVING," OF EXTREME RARITY. Most brilliant impression, in beautiful condition. From the collection of Mr. J. S. Morgan. (See re- production.) 25 Christ on the Cross B. O. 25, W. 10 The Madonna stands at the left and St. John at the right; above are three angels with chalices, catching the blood that drops from the side and hands of Christ. Extremely fine impression in superb condition. Paper with the water mark of the Bull's head. From the collections of Boehm, Baron Festetics and Theobald. (See reproduction.) 26 Christ Appearing to Mary Magdalen B. O. 26, W. 52. One of the most beautiful compositions. There is hardly any picture of Christ known, showing as much repose and grandeur of conception. Good impression, a little worn. 13 27 The Madonna Standing, and Seen in Front, with the Infant in Her Arms. B. O. 28, W. 65 Very beautiful impression of the charming engrav- ing, cut in the white paper, with the water mark of the Gothic P. 28 The Death of the Virgin B. O. 33, W. 49 The Virgin is represented in a bed covered with a canopy. She is surrounded by several apostles, one of which is handing her a candle ; two others are on their knees praying in front at the left. One of the most capital productions. Very beau- tiful early impression, a little too dark, cleverly re- paired. From the collection of Count Enzenberg. 29 St. Thomas, the Apostle B. O. 44, W. 36 Good early impression from the Arozarena Collection. 30. The Same. From the collection of Mr. J. S. Morgan. 31 St. Anthony, Tormented in the Air by Devils B. O. 47, W. 9 This piece is one of the most interesting of Schon- gauer's productions, being the same which Michel- angelo copied with great diligence in colors when a youth. Capital plate. 14 B. 47 ST. ANTHONY TORMENTED BY DEMON'S No. 31 of Catalogue Very fine impression from the Berlin Museum and von Nagler Collections. Very cleverly repaired in the upper part, on paper with the water mark of the Bull's head. 32 The Same Superb impression from the J. S. Morgan Collec- tion. Slightly cut on the side and top. (See re- production.) 33 St. Christopher, Carrying the Infant Christ Across the River. B. O. 48, W. 66 Superb early impression. The upper part has once been cut out and the white paper is almost invis- ibly restored. A splendid example of the clever- ness of print repairing. 34 St. James, the Elder, the Apostle and Patron Saint of Spain, Assisting the Christian Army Against the Saracens B. O. 53, W. 7 One of Schongauer's largest and most capital pro- ductions. Of extreme rarity. Most splendid im- pression, in perfect condition. From the collection of Mr. J. S. Morgan. (See reproduction.) 15 35 St. John the Baptist, with the Lamb of God upon His Book B. O. 54, W. 67 Good early impression on paper with the water mark of the Bull's head. 36 St. John the Evangelist, Writing His Revelations on the Isle of Patmos B. O. 55, W. in Early impression on paper with the water mark of the Gothic P. Somewhat worn. 37 St. Michael, Piercing the Dragon, Which Is Under His Feet B. O. 58, W. 70 Fine impression on paper with the water mark of the Bull's head. 38 The Lord Seated on a Throne, Under a Canopy Sup- ported by Two Angels B. O. 70, W. 55 He has a globe and sceptre and appears giving the benediction. Very fine impression on paper with the water mark of the Bull's head. From the J. S. Morgan Collection. 39 The Madonna Seated on a Throne, at the Right Hand of God. B. O. 71, W. 54 Behind the throne is a group of three angels in adoration. Superb impression on paper with the water mark of the Gothic P. From the Prince Paar Collection. 16 40 God Crowning the Madonna, Who Is on Her Knees Before Him B. O. 72, W. 53 Most beautiful plate, in fine impression from the Collections of Arozarena and J. S. Morgan. 41 The Departure For the Market Ottley calls this print: A peasant going to join the army, and leading his horse, on which is seated his wife with her child behind her. B. O. 88, W. 11 One of the first genre scenes, of extreme rarity. Superb impression in extraordinary fine condition. On paper with the water mark of the Bull's head. From the J. S. Morgan Collection. (See reproduction.) 42 The Same Very good impression of this rare engraving, but it has been folded across and cut at the bottom so that the monogram does not appear. From the Louis Galichon and A. Firnien-Dedot Col- lection. 43 The Coat of Arms of the House of Erbach B. O. 99, W. 90. A young lady standing, holding a rose in her right hand and an escutcheon in the left. Very scarce, good impression. 17 44 The Coat of Arms of the Family von Baldinger B. O. 103, W. 94 Wild man holding a club in his right hand, and an escutcheon in his left. Very rare. (See reproduction on cover.) Bartsch, page 174, No. 15 45 Piece falsely attributed to Schongauer, showing his monogram, but apparently not made by that mas- ter. Three figures on one plate, on the left a young woman standing in profile and turned towards the right talking and emphasizing her speech with her hands to a man who stands opposite to her in pro- file. He has in his hands some object resembling the hilt of a sword between the two figures is an old woman, who listens with attention to the con- versation. They all wear oriental turbans. 46 The Capture of Christ Impression from the silver plate still preserved in the Museum of Basle. 18 B. 88 THE DEPARTURE FOR THE MARKET No 41 of Catalogue SLATER LIBRARY ^ * s