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Mauresque in white on black background (vom BeMauvergebener Titel)
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The earlier attribution of the leaves (AI 2491-1 to 12) to Monogrammist IR is not convincing. Leaves of this master are always signed (letters I R) and mostly executed in copper engraving. Nagler proposes to identify Monogrammist I R as Jean Richart from Antwerp, which is why the description of the episode as "Dutch School 16. Jh."As described in the catalog of Franz Ritter from 1889, it cannot be considered convincing. The attribution of nine of these leaves to Jean Gourmont (Marijnke de Jong and Irene de Groot, Ornamental Prenten in het Rijksprentenkabinet I, 15de & 16de eeuw, 's-Gravenhage 1988, 566.1-9) and twelve other leaves of the same episode to Bernard Salomon (Idem, No. 569.1-5, 570, 571, 572, 573, 574, 575.1-2) is also unconvincing (see Peter Fuhring, Ornament Prints in Die Die) p. 331, under No. 566). Guilmard 1880 said it was about an anonymous French master and Rudolf Berliner 1925-26 was the same opinion. On the other hand, Peter Jessen (Der Ornazich, Berlin 1920, pp. 64-65) describes the series with the consequences of Mauresken in Paris by Hieronymus Gourmont in 1546. In addition to the version in woodcut of the episode Livre De Moresques Tres utile et necessaire a tous orfeures, Tailleurs, Grauers, Painctres, Tapissiers, Brodeurs, Lingieres, et femmes, qui besongent de lesguille (copies after the episode of Cornelis Bos, Een boeck van menigherye trecken op die maniere van de Moresken..., Antwerp 1543), there is no Neben Peter Jessen has in his book, Gothic and Renaissance in ornamental engraving. (Master of the Ornamental Sculpture. Volume 1), Berlin o’clock [1924], Fig. 136-137, a group of comparable leaves that he wanted to associate with Hieronymus Gourmont in 1920, described as “Jean Gourmont (?).” There is no connection with the master JG (former but incorrectly identified as Jean Gourmont). There is an imprint of this sheet, KI 2188-2, and a complete imprint in the Edmond Foulc Collection, now Paris, INHA, Collections Jacques Doucet, 4 Est 395, Fol. 44. Probably French paper. Without watermark
Title: Mauresque in white on black background (vom BeMauvergebener Titel)
Description:
The earlier attribution of the leaves (AI 2491-1 to 12) to Monogrammist IR is not convincing.
Leaves of this master are always signed (letters I R) and mostly executed in copper engraving.
Nagler proposes to identify Monogrammist I R as Jean Richart from Antwerp, which is why the description of the episode as "Dutch School 16.
Jh.
"As described in the catalog of Franz Ritter from 1889, it cannot be considered convincing.
The attribution of nine of these leaves to Jean Gourmont (Marijnke de Jong and Irene de Groot, Ornamental Prenten in het Rijksprentenkabinet I, 15de & 16de eeuw, 's-Gravenhage 1988, 566.
1-9) and twelve other leaves of the same episode to Bernard Salomon (Idem, No.
569.
1-5, 570, 571, 572, 573, 574, 575.
1-2) is also unconvincing (see Peter Fuhring, Ornament Prints in Die Die) p.
331, under No.
566).
Guilmard 1880 said it was about an anonymous French master and Rudolf Berliner 1925-26 was the same opinion.
On the other hand, Peter Jessen (Der Ornazich, Berlin 1920, pp.
64-65) describes the series with the consequences of Mauresken in Paris by Hieronymus Gourmont in 1546.
In addition to the version in woodcut of the episode Livre De Moresques Tres utile et necessaire a tous orfeures, Tailleurs, Grauers, Painctres, Tapissiers, Brodeurs, Lingieres, et femmes, qui besongent de lesguille (copies after the episode of Cornelis Bos, Een boeck van menigherye trecken op die maniere van de Moresken.
, Antwerp 1543), there is no Neben Peter Jessen has in his book, Gothic and Renaissance in ornamental engraving.
(Master of the Ornamental Sculpture.
Volume 1), Berlin o’clock [1924], Fig.
136-137, a group of comparable leaves that he wanted to associate with Hieronymus Gourmont in 1920, described as “Jean Gourmont (?).
” There is no connection with the master JG (former but incorrectly identified as Jean Gourmont).
There is an imprint of this sheet, KI 2188-2, and a complete imprint in the Edmond Foulc Collection, now Paris, INHA, Collections Jacques Doucet, 4 Est 395, Fol.
44.
Probably French paper.
Without watermark.
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