Hans Sebald Beham (1500-1550), Ornament with Two Genii Riding on Two Chimeras, engraving, 1544 [with initials and date in the plate]. References: Bartsch 236, Hollstein 241, Pauli 241, third state (of 4, but see note below). In very good condition, trimmed on the borderline, slight thinning bottom verso, 1 1/4 x 4 inches.

A superb impression; impressions of this quality are of the greatest rarity in today’s print market.

The state progression of this print is subtle, e.g., the second state is identified as one hatching on the shank of the genius on the left, the third as “with a third diagonal hatching on some parts of the background”, and the fourth as a fourth vertical hatching between the body of the left genius and the back of the chimera. We have had difficulty assessing the state but believe this is an early impression based on it’s extraordinary quality.

Beham was one of the Northern Renaissance Little Masters, so called because of their eminence in producing small-scale engravings such as Ornament with Two Genii Riding on Two Chimeras. Beham was born in Nuremberg in 1500, and may have trained under Durer, though his training is no more certain than that of his younger brother Barthel.  He made his first engraving in 1518, and later became known for producing woodcuts, as well as engravings.

This is one of the tiny prints Beham which no doubt served as the basis for decoration of objects during the Northern Renaissance, objects such as clocks, locks, cups, ceramics, stained glass windows, boxes, cabinets, swords, etc.

]]> http://harrisschrank.com/ornament-with-two-genii-riding-on-two-chimeras.htm/feed 0 http://harrisschrank.com/hercules-and-cerberus.htm http://harrisschrank.com/hercules-and-cerberus.htm#comments Wed, 23 Sep 2009 02:00:27 +0000 Harris Schrank http://harrisschrank.com/?p=2724 Hans Sebald Beham (1500-1550), Hercules and Cerberus, engraving, 1545. Bartsch 100, Pauli 104, Hollstein 67, second state (of 3) [with initials, date and title in the plate]. In very good condition, trimmed on the platemark but outside of the borderline, 2 1/4 x 3 inches. Provenance: I.H. von Hefner, Alteneck (Lugt 1254, his stamp on verso) A fine impression. This shows the last of Hercules’s labors: pulling Cerberus out of the underworld. To do this he got Pluto to bring the monstrous dog into the light of day, but on the condition that Hercules would not use his weapons to drag Cerberus – [...]]]>

Hans Sebald Beham (1500-1550), Hercules and Cerberus, engraving, 1545. Bartsch 100, Pauli 104, Hollstein 67, second state (of 3) [with initials, date and title in the plate]. In very good condition, trimmed on the platemark but outside of the borderline, 2 1/4 x 3 inches.

Provenance: I.H. von Hefner, Alteneck (Lugt 1254, his stamp on verso)

A fine impression.

This shows the last of Hercules’s labors: pulling Cerberus out of the underworld. To do this he got Pluto to bring the monstrous dog into the light of day, but on the condition that Hercules would not use his weapons to drag Cerberus – and so his weapons can be seen on the ground.

The buildings burning in the background are borrowed from a Caraglio print of the same subject; Beham borrowed heavily from Italian sources for his Labors, and in fact his entire series appears to have been based on Caraglio’s series.

]]> http://harrisschrank.com/hercules-and-cerberus.htm/feed 0 http://harrisschrank.com/a-mask-held-by-two-genii-first-state.htm http://harrisschrank.com/a-mask-held-by-two-genii-first-state.htm#comments Tue, 22 Sep 2009 23:40:29 +0000 Harris Schrank http://harrisschrank.com/?p=2710 Hans Sebald Beham (1500-1550), 1544, engraving, Bartsch 228, Pauli, Hollstein 232, first state (of 2),  [initialed and dated in the plate], in excellent condition, trimmed on the platemark but outside of the borderline,  archival mounting. 1 15/16 x 2 7/8 inches. A brilliant impression of the rare first state. In the second state lines were added to the right hand of the geni at the left; in this first state impression these lines have yet to be added (see detail below). Provenance: Unidentified collector EW (with initials in graphite verso, not located in Lugt). Beham was one of the Northern Renaissance Little Masters, so called [...]]]>

Hans Sebald Beham (1500-1550), 1544, engraving, Bartsch 228, Pauli, Hollstein 232, first state (of 2),  [initialed and dated in the plate], in excellent condition, trimmed on the platemark but outside of the borderline,  archival mounting. 1 15/16 x 2 7/8 inches.

A brilliant impression of the rare first state.

In the second state lines were added to the right hand of the geni at the left; in this first state impression these lines have yet to be added (see detail below).

Provenance: Unidentified collector EW (with initials in graphite verso, not located in Lugt).

Beham was one of the Northern Renaissance Little Masters, so called because of their eminence in producing small-scale engravings such as A Mask Held by Two Genii.  Beham was born in Nuremberg in 1500, and may have trained under Durer, though his training is no more certain than that of his younger brother Barthel.  He made his first engraving in 1518, and later became known for producing woodcuts, as well as engravings.

A Mask Held by two Genii is one of the better known small prints made by Beham which has (apparently) served as the basis for decoration of objects during the Northern Renaissance, objects such as clocks, locks, cups, ceramics, stained glass windows, boxes, cabinets, swords, etc.

Detail

Hans Sebald Beham (1500-1550), A Mask Held by Two Genii, 1544, engraving, Bartsch 228, Pauli, Hollstein 232, second state of two,[initialed and dated in the plate], in very good condition, trimmed on or possibly just into the platemark but outside of the borderline (on the borderline at left), some ink drawing verso not visible recto, archival mounting. 1 15/16 x 2 7/8 inches.

A fine black evenly printed and clear impression. In this second state lines have been added to the right hand of the genius at the left.

Provenance: Dr. Karl Herweg, with his stamp verso (not in Lugt).

Beham was one of the Northern Renaissance Little Masters, so called because of their eminence in producing small-scale engravings such as A Mask Held by Two Genii.  Beham was born in Nuremberg in 1500, and may have trained under Durer, though his training is no more certain than that of his younger brother Barthel.  He made his first engraving in 1518, and later became known for producing woodcuts, as well as engravings.

A Mask Held by two Genii is one of the better known small prints made by Beham which has (apparently) served as the basis for decoration of objects during the Northern Renaissance, objects such as clocks, locks, cups, ceramics, stained glass windows, boxes, cabinets, swords, etc.

Hans Sebald Beham (1500-1550), an engraving after Beham’s Two Fools (or Fool and Foolish Woman), engraving, c 1540, a copy or impression in reverse of Pauli 215, Bartsch 213, the copy after the first state. In excellent condition, trimmed on or just outside or inside the plate mark, on old laid paper, numerous notes in pencil verso, 1 15/16 x 2 1/16 inches.

A brilliant impression of this famous image, after the Beham composition.

The subject matter for this print was addressed by numerous artists in the 15th and 16th centuries.  In this rendering the allusions refer to the folly of love. For example, the man holds what was known as the “fool’s stick”, an instrument with obvious phallic references. The woman rests her hand on a vessel, a reference to female sexuality.  The man holds a flagon of wine – wine drinking was at the time a metaphor for love-making.  Many prints of the time show flies or dragonflies flying around a lover’s head in association with love; here three dragon flies circle the man, but another is aiming toward the woman.

Detail

]]> http://harrisschrank.com/two-fools-the-folly-of-love.htm/feed 0 http://harrisschrank.com/virgin-and-child-with-the-pear.htm http://harrisschrank.com/virgin-and-child-with-the-pear.htm#comments Tue, 30 Jun 2009 00:44:06 +0000 Harris Schrank http://harrisschrank.com/?p=1632 Hans Sebald Beham (1500-1550), Virgin and Child with the Pear, engraving, 1520. Initials monogram and date in the plate. References: Bartsch 18, Pauli, Hollstein 19. First state (of two). In good condition, on old laid paper with thread margins on three sides, trimmed on the platemark bottom right and bottom, and archival mounting.  h: 4.5 x w: 3 in / h: 11.4 x w: 7.6 cm A very good impression of this rarity. Hollstein indicates that earlier impressions, such as this one, do not have a scratch above the head of the Virgin. Beham was one of the Northern [...]]]>

Hans Sebald Beham (1500-1550), Virgin and Child with the Pear, engraving, 1520. Initials monogram and date in the plate. References: Bartsch 18, Pauli, Hollstein 19. First state (of two). In good condition, on old laid paper with thread margins on three sides, trimmed on the platemark bottom right and bottom, and archival mounting.  h: 4.5 x w: 3 in / h: 11.4 x w: 7.6 cm

A very good impression of this rarity.

Hollstein indicates that earlier impressions, such as this one, do not have a scratch above the head of the Virgin.

Beham was one of the Northern Renaissance Little Masters, so called because of their eminence in producing small-scale engravings such as the Virgin and Child with a Pear. Beham was born in Nuremberg in 1500, and may have trained under Durer, though his training is no more certain than that of his younger brother Barthel. He made his first engraving in 1518, and later became known for producing woodcuts as well.

Beham’s Madonna with the Pear has a similar composition but in reverse to Durer’s engraving of the same subject done only 9 years earlier. In both prints the Madonna rests against a tree and holds the pear away from the Child; Durer’s image is larger and includes a city background; Beham draws no clouds or buildings in the space next to the Virgin, but instead features her long curly hair blowing towards the right.

The pear as a pacifier as opposed to the “apple of discord” or temptation occurs as an attribute of the Virgin in a sculpture at the Cathedral at Chartres, completed in 1240.

Hans Sebald Beham (1500-50), Doric Columns I and II, engravings, 1543. References: Bartsch 247 and 248; Pauli 257 and 258, first state of two. With the monogram, date and extensive annotation in the plate. In very good condition, on old laid paper. Both prints engraved on one sheet, and so with margins; each 3 x 2, the sheet 3 1/2 x 5 3/8 inches; archival mounting.

Both fine early impressions, with the guidelines for the lettering still clearly printing; these prints are rarely seen and very rare as printed on a single sheet.

Provenance: Dr. Karl Herweg (a well-known collector of Northern Renaissance prints); and an unidentified collector’s mark (KB?, not found in Lugt).

Beham, like the other illustrious German Little Masters of the Northern Renaissance including his brother Barthel, Heinrich Aldegrever, Albrecht Altdorfer, Georg Pencz and others, made a number of prints which were used as decorative models or with decorative applications in mind.

In this case the columns appear to have been referred to and perhaps illustrated in the writings of Vitruvius (active c. 90-20 BC),  a Roman writer on architecture, whose writings were highly influential during the Renaissance. The first printed version of his works appeared in the late 15th C., and the first illustrated edition in 1511. Beham’s engravings may have been a way to circulate the illustrations widely, and they’re an aesthetic treat regardless of their function when issued.

Very good to fine impressions of this rarely encountered complete set.

Provenance: Furst du Furstenberg (Lugt 995, his stamp verso each print).

The Seven Planets includes: Saturn, Jupiter, Mars, the Sun, Venus, Mercury, and the Moon.  Each is initaled (ISB), titled in the ribbon at the top, and with a few words of explanation (in Latin) in a bottom margin that has been left intact in these impressions.

Beham was one of the Northern Renaissance Little Masters, so called because of their eminence in producing small-scale engravings such as A Mask Held by Two Genii.  Beham was born in Nuremberg in 1500, and may have trained under Durer, though his training is no more certain than that of his younger brother Barthel.  He made his first engraving in 1518, and later became known for producing woodcuts, as well as engravings.

]]> http://harrisschrank.com/the-seven-planets.htm/feed 0 http://harrisschrank.com/virgin-and-child-with-parrot.htm http://harrisschrank.com/virgin-and-child-with-parrot.htm#comments Thu, 25 Jun 2009 14:23:55 +0000 Harris Schrank http://harrisschrank.com/?p=962 Hans Sebald Beham (1500-1550), Virgin and Child with the Parrot,  engraving, 1549,  [with the initials monogram and date in the plate upper left, and the title S. Maria upper right ]. References: Bartsch 19, Pauli, Hollstein 12. First state (of three). In generally good condition, on old laid paper, soiling verso, slight staining recto, trimmed on or just into the platemark but generally within the borderline top and sides, 3 1/16 x 2 1/4 inches, archival mounting. A very good impression of this rarity. The first state is before the 3rd hatching in the shadow near the foot of the [...]]]>

Hans Sebald Beham (1500-1550), Virgin and Child with the Parrot,  engraving, 1549,  [with the initials monogram and date in the plate upper left, and the title S. Maria upper right ]. References: Bartsch 19, Pauli, Hollstein 12. First state (of three). In generally good condition, on old laid paper, soiling verso, slight staining recto, trimmed on or just into the platemark but generally within the borderline top and sides, 3 1/16 x 2 1/4 inches, archival mounting.

A very good impression of this rarity.

The first state is before the 3rd hatching in the shadow near the foot of the Virgin. In the second state this 3rd diagonal hatching is added; in the third state cross hatching in the shadow of the Virgin’s gown above the girdle is added, and the tree branch in the upper right corner is extended.

Beham was one of the Northern Renaissance Little Masters, so called because of their eminence in producing small-scale engravings such as the Virgin and Child with a Pear. Beham was born in Nuremberg in 1500, and may have trained under Durer, though his training is no more certain than that of his younger brother Barthel. He made his first engraving in 1518, and later became known for producing woodcuts as well.

The parrot perched on the Virgin’s right hand may be a suggestion of the state of Paradise. The pear in her left hand (also featured in the Virgin with the Pear of Durer, Beham and others) has been considered as a pacifier as opposed to the “apple of discord” or temptation.

Hans Sebald Beham (1500-50), Triumph of the Noble Victorious Women, engraving, 1549 [with inscription, initials and date in the plate]. References: Pauli 244, Bartsch 143, second state (of 3). In good condition, trimmed on or just on either side of the platemark outside of the image. The inscription across the top reads: Trivmpf der edelen sighaften weiber (Triumph of the Noble Victorious Women).  20 x 135 mm, 7/8 x 5 1/8 inches. Archival matting.

Provenance: ex Collection: Dr. Herweg (stamp verso, not in Lugt); ex Collection F. Quiring (Lugt 1041c, stamp verso).

A very good impression of this great rarity.

This is a version of the Triumph of Bacchus, which both Sebald and his brother Barthel had made earlier, without the inscription. The victorious couple in the central chariot has been identified as Neptune (note the trident he carries) and one of his lovers. Both Durer and Lucas van Leyden had focused on the Power of Women theme a few decades earlier; here Beham reworks the theme but with a bit less concern with the mythological figures associated with the theme than his predecessors displayed. Beham replicates the classic triumphant march format often found in Renaissance sculpture and engravings, but his women are generally both triumphant and subjugated, and the spirit has more to do with Bacchanalian partying and less with specific archaelogical or mythological references.

The state changes involve very tiny additions of hatching between the legs of the parties.