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Der Tod als Erwürger - Erster Auftritt der Cholera auf einem Maskenball in Paris 1831 (Death the Strangler - The first outbreak of cholera at a masked ball in Paris 1831.)

  • Object type

  • Museum number

    1931,0721.67

  • Title (object)

    • Der Tod als Erwürger - Erster Auftritt der Cholera auf einem Maskenball in Paris 1831 (Death the Strangler - The first outbreak of cholera at a masked ball in Paris 1831.)
  • Description

    In the centre, Death personified, holding two bones as if he was playing the violin; surrounding him, the bodies of three dead people lying on the floor; in the top left corner, a group of musicians leaving the room; in the background to right; Cholera personified, dressed in Egyptian fancy dress seated on stairs. 1851 Wood-engraving

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  • Producer name

  • School/style

  • Date

    • 1851
  • Materials

  • Technique

  • Dimensions

    • Height: 309 millimetres
    • Width: 275 millimetres
  • Inscriptions

      • Inscription Content

        Lettered with title, production and publication details: 'Herausgegeben aus der Akademie der Holzschneidekunst von H. Bürkner in Dresden' and 'Erschienen bei Ed. Schulte (J.Buddeus'sche Buch- und Kunsthandl. in Düsseldorf.' and 'Druck von Breitkopf und Härtel in Leipzig'.
  • Curator's comments

    Entry from G. Bartrum, exhib.cat., BM, London, `Dürer and his Legacy`, 2002, no.272:
    This image refers to an event of some twenty years earlier in Paris, as the lettering indicates. The episode had been reported by a correspondent in Paris to the Augsburger Allgemeine Zeitung (see Z. van Manteuffel, `Rethel, p.16) The influence of sixteenth-century images of death on Rethel is demonstrated in these two prints `Death the Strangler` and its companion, `Death the Friend` (cat.no 273). The most obvious source being the series of 41 woodcuts of the Dance of Death of 1538 designed by Holbein the Younger . But Rethel`s interpretation of Death as an overwhelmingly menacing force which dominates the entire composition derives ultimately from Dürer, whose radical image of a destructive power sweeping away all in its path in ` The Four Horsemen of the Apocalypse` had a pervasive influence ( cat.no 271). The strength of Dürer`s image is also reflected in Rethel`s first and most famous series of prints on Death `Yet Another Dance of Death for the Year 1848` (Auch ein Todtentanz aus dem Jahre 1848 ), which is accompanied by verses by Robert Reinick,(Leipzig, 1849; see fig. 32). The publication is closely associated with the uprisings of 1848, which took place within the socially divided German territories, and is now regarded as a major piece of counter-revolutionary iconography (see A. Boime, `Alfred Rethel`s Counter-revolutionary Death Dance`, The Art Bulletin, Dec. 1991, pp.577-98).`

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  • Bibliography

    • Manteuffel 1926 24.III bibliographic details
  • Location

    Not on display (German XIXc Mounted Roy)

  • Subjects

  • Associated names

  • Acquisition name

  • Acquisition date

    1931

  • Department

    Prints & Drawings

  • Registration number

    1931,0721.67

In the centre, Death personified, holding two bones as if he was playing the violin; surrounding him, the bodies of three dead people lying on the floor; in the top l corner, a group of musicians leaving the room; in the background to r; Cholera personified, dressed in Egyptian fancy dress seated on stairs. 1851 Wood-engraving

Recto

In the centre, Death personified, holding two bones as if he was playing the violin; surrounding him, the bodies of three dead people lying on the floor; in the top l corner, a group of musicians leaving the room; in the background to r; Cholera personified, dressed in Egyptian fancy dress seated on stairs. 1851 Wood-engraving

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