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Lotto No. 10


Albrecht Dürer


Albrecht Dürer - Disegni e stampe fino al 1900, acquarelli e miniature

(Nuremberg 1471-1528) Erasmus von Rotterdam, 1526, engraving, monogrammed and dated AD 1526 in the plate, on fine laid paper, watermark: “Crowned escutcheon with letter L and lily and attached letter b” (Meder 314, Briquet 8287), 24,3 x 18,2 cm, Meder 105 a (of i), Bartsch 107 a (of i), mounted, unframed, (Sch)

Provenance: The recto with an old, faded number „24“ in pen and brown ink (not with Lugt); the reverse with an old collector’s signature in black chalk (not with Lugt). A very excellent, clear impression of the first state with rich contrasts, with the watermark „coat of arms with letter L and connected b“ indicated by Meder and Bartsch as characteristic for early impressions. Trimmed along the inside contour line of the inscribed tablet in the upper part and along the outside edge of the book, trimmed within framing lines at left and low margin. Somewhat moldy, otherwise in an excellent condition.

Erasmus Desiderius from Rotterdam (c. 1466-1536) was one of the most significant European Renaissance Humanists. After having studied in Paris he lived in Italy, the Netherlands, England, Germany and Switzerland. He is said to have corresponded during his lifetime with more than five hundred personalities from politics and philosophy having asked him for advice. Erasmus remained faithful to the Catholic church. However, he criticized her excesses. He advocated a new Latin and Greek translation of the New Testament and exerted influence on the Catholic Counter Reformation, whose responsibilities blamed him for having laid the basis for the Reformation.

When travelling through the Netherlands Dürer met Erasmus on different occasions in 1520/1; the first encounter between the two men may have taken place in Brussels at the end of August 1520. After Erasmus had seen Dürer‘s portrait engraving of the Emperor’s advisor Maximilian I, Wilibald Pirckheimer, he asked the artist to sit for him. Dürer noted in his diary that he drew Erasmus „once again“; however, only one preliminary drawing for the engraving is known today (Paris, Louvre, Inv. RF 4113). In Dürer’s engraving Erasmus is given in three-quarter-length by a table with a writing desk on top. The scholar is wearing a robe with wide sleeves and a mortarboard; his beardless face is given in profile. Erasmus is gazing downwards to a sheet of paper, on which he is writing with a reed pen. A handle vase with flowers is placed on the table, two letters are lying next to the writing desk; in the foreground an open book and four books with clasps point to the man’s scholarly status. Dürer referred to a portrait painting of Erasmus, which Quentin Massys (1466-1529) had executed in 1517 and which Dürer must have seen in Antwerp. A text tablet which is almost covering the upper quarter of the sheet bears a Latin and Greek inscription which is supposed to be read together: "Portrait of Erasmus von Rotterdam, drawn by Albrecht Dürer after life. A better picture is represented through his scripts“. The portrait eloquently speaks to the beholder, directing his awareness to the books and letters and thus to Erasmus’s likeness proper, which lies beyond the picture.

Esperta: Mag. Astrid-Christina Schierz Mag. Astrid-Christina Schierz
+43-1-515 60-546

astrid.schierz@dorotheum.at

29.09.2016 - 17:00

Stima:
EUR 25.000,- a EUR 35.000,-

Albrecht Dürer


(Nuremberg 1471-1528) Erasmus von Rotterdam, 1526, engraving, monogrammed and dated AD 1526 in the plate, on fine laid paper, watermark: “Crowned escutcheon with letter L and lily and attached letter b” (Meder 314, Briquet 8287), 24,3 x 18,2 cm, Meder 105 a (of i), Bartsch 107 a (of i), mounted, unframed, (Sch)

Provenance: The recto with an old, faded number „24“ in pen and brown ink (not with Lugt); the reverse with an old collector’s signature in black chalk (not with Lugt). A very excellent, clear impression of the first state with rich contrasts, with the watermark „coat of arms with letter L and connected b“ indicated by Meder and Bartsch as characteristic for early impressions. Trimmed along the inside contour line of the inscribed tablet in the upper part and along the outside edge of the book, trimmed within framing lines at left and low margin. Somewhat moldy, otherwise in an excellent condition.

Erasmus Desiderius from Rotterdam (c. 1466-1536) was one of the most significant European Renaissance Humanists. After having studied in Paris he lived in Italy, the Netherlands, England, Germany and Switzerland. He is said to have corresponded during his lifetime with more than five hundred personalities from politics and philosophy having asked him for advice. Erasmus remained faithful to the Catholic church. However, he criticized her excesses. He advocated a new Latin and Greek translation of the New Testament and exerted influence on the Catholic Counter Reformation, whose responsibilities blamed him for having laid the basis for the Reformation.

When travelling through the Netherlands Dürer met Erasmus on different occasions in 1520/1; the first encounter between the two men may have taken place in Brussels at the end of August 1520. After Erasmus had seen Dürer‘s portrait engraving of the Emperor’s advisor Maximilian I, Wilibald Pirckheimer, he asked the artist to sit for him. Dürer noted in his diary that he drew Erasmus „once again“; however, only one preliminary drawing for the engraving is known today (Paris, Louvre, Inv. RF 4113). In Dürer’s engraving Erasmus is given in three-quarter-length by a table with a writing desk on top. The scholar is wearing a robe with wide sleeves and a mortarboard; his beardless face is given in profile. Erasmus is gazing downwards to a sheet of paper, on which he is writing with a reed pen. A handle vase with flowers is placed on the table, two letters are lying next to the writing desk; in the foreground an open book and four books with clasps point to the man’s scholarly status. Dürer referred to a portrait painting of Erasmus, which Quentin Massys (1466-1529) had executed in 1517 and which Dürer must have seen in Antwerp. A text tablet which is almost covering the upper quarter of the sheet bears a Latin and Greek inscription which is supposed to be read together: "Portrait of Erasmus von Rotterdam, drawn by Albrecht Dürer after life. A better picture is represented through his scripts“. The portrait eloquently speaks to the beholder, directing his awareness to the books and letters and thus to Erasmus’s likeness proper, which lies beyond the picture.

Esperta: Mag. Astrid-Christina Schierz Mag. Astrid-Christina Schierz
+43-1-515 60-546

astrid.schierz@dorotheum.at


Hotline dell'acquirente lun-ven: 09.00 - 18.00
kundendienst@dorotheum.at

+43 1 515 60 200
Asta: Disegni e stampe fino al 1900, acquarelli e miniature
Data: 29.09.2016 - 17:00
Luogo dell'asta: Vienna | Palais Dorotheum
Esposizione: 23.09. - 29.09.2016