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ex-libris THE WORLD OF EX-LIBRIS |
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A historical retrospective 1 EARLY PRINTED EX-LIBRIS 1470-1700 |
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1b THE GERMAN RENAISSANCE DÜRER, CRANACH D.A. AND THE ‘KLEINMEISTERN’ 1500-1620 |
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1b/24. Hans Sibmacher (D, c.1560-1621)  VEIT AUGUST
HOLZSCHUHER, C2, 107 x 74, c.1600. W893.
Viz. L-W, ill. p. 160. It is interesting to note that Sibmacher, about five years after engraving the Beham plate (1b/23) in which he set the coat-of-arms in a cartouche, chose to place Holzschuher’s in a wreath, following the fashion of the time. A good example of ‘canting arms’: the name of the owner, Holzshuher, means ‘maker of wooden shoes’ in German. Formerly in the Dick-Lauder collection. |
1b/25. ? Dietrich Meyer (CH, Zürich 1572-1658) HANS
RUDOLF ESCHER VON LUCHS, C2, 160 x 117, c.1605. Weg1948.
Viz. Weg.,ill. pl. 35.
A magnificent example of Renaissance wreath. If this plate were by an artist from the Nuremberg school, one would tend to date it around 1595; however, it is an example of the stylistic delay which often occurs between the ‘trend-setting’ centre and other places. It cannot, however, be later than 1609, as Escher von Luchs died that year. |
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1b/26. Heinrich Ullrich (D, fl. 1590-1620) OELHAFEN VON
SCHöLLENBACH, C2, 111 x 78, c.1595. W1505.
Ullrich, also of Nuremberg, engraved about a dozen ex-libris of which several for the Oelhafen family. The arms are part canting: the lion holds an oil-pot (oelhafen). |
1b/27. Heinrich Ullrich (D, fl. 1590-1620) IMHOF, C2, 159
x 120, c.1610. W933.
Viz. von Zur Westen, ill. p. 22.
Again, it is fascinating to see the change in Ullrich’s style in this plate for a member of the Imhof family, some ten to fifteen years later than the previous plate. This ex-libris has a particularly interesting feature> it is the first one we see which shows a serious attempt at perspective of some depth. Its style is still full Renaissance, but certain elements herald the baroque, in particular the grotesque masks at the base of the columns. |
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1b/28. C. Sand (D) ZACHARIAS & MARIA GEIZKOFLER, C2,
149 x 130, 1605. W626.
Viz. L-W p. 166. Sand was from Augsburg, and this distinctive plate has a cartouche which has abandoned the Renaissance simplicity and shows strong baroque traits. |
1b/29. ? VBXS (CH) JOHANN O. LORENTZ ARREGGER, C2,
129 x 104, 1607. Weg 188 (1st state).
Viz. AHS 1895 ill. p. 26, ELJ 1898 p. 7, etc.
An early example of an ex-libris where a figure accompanies the arms without being a supporter. Arregger was from Solothurn and died in 1616. |
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1b/30. Martin Martini (CH, 1565-1610) GEORG VON
DIESBACH, C2, 116 x 98, 1609. Weg1478.
Viz. AHS 1897 p. 18, etc. It would not be fair to omit this Swiss artist from the late wave of ‘little masters’, even though the style of this plate for Diesbach (1574-1646) is closer to the 1580s than the late Renaissance. By trade a silver and coin engraver, Martini made five ex-libris which are all amongst the finest of the period. His history is not without surprises> employed to engrave matrixes of coins by the Republic of Berne, he also made coins... for himself, and spent several years in prison. |
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1b/31. ? (D) BIBL. BAYERN, C2, 172 x 131, 1618. W1371.
Some 27 ex-libris of this great library are known, all with the arms of the Duke of Bavaria. This one was used until 1622, when the army of the Catholic League took Heidelberg and the library was removed from Germany and integrated the Palatine Library in Rome. As the library was large, two variants of this plate are known, as well as two smaller versions. Its style is definitely baroque. |
1b/32. Hans Troschel (D, 1585-1628) & Hans Hauer (D)
JOH. WILH. KRESS VON KRESSENSTEIN, C2, 134 x 81, 1619.
W1061a.
Viz. L-W ill. p. 159.
The Kress family had a large number of ex-libris engraved for their libraries, covering some six generations. A similar plate exists, probably slightly earlier, with the name spelt differently and no inscription below the sword. Both artists were from Nuremberg, and Troschel died in Rome. The plate’s style is still very Renaissance. |
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1b/33. ? (CH) MELCHIOR LUSSY, C2, 123 x 80, c.1620.
This rare and practically undocumented plate shows an interesting example of knotted mantling. There are three other such plates in the collection, and all date from the 1610-1630 period. It is also an early example of a tendency to present a coat of arms in a decorative image, rather than a strict armorial presentation. |
End of 1b
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