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Pictorum et chalcographor Germaniae Principis Alberti Dureri Genuina Effigies

  • Object type

  • Museum number

    1845,0809.578

  • Title (object)

    • Pictorum et chalcographor Germaniae Principis Alberti Dureri Genuina Effigies
  • Description

    Portrait of Albrecht Dürer; after Rottenhammer's copy of Dürer's self-portrait from the Feast of the Rose Garlands; half-length, turned slightly to right; wearing a fur-trimmed coat. 1608
    Engraving

  • Producer name

  • School/style

  • Date

    • 1608
  • Materials

  • Technique

  • Dimensions

    • Height: 342 millimetres
    • Width: 205 millimetres
  • Inscriptions

      • Inscription Content

        Lettered in upper margin with title in two lines. Lettered on the stone slab 'C.S.C. M/ PRIVIL.'.
        And lettered in lower margin with 6 line dedication and signature: 'ORNATISS> VIRIS; DOMINICO CUSTODI ... A. Luca Kiliano Aug. Sculpta.'
  • Curator's comments

    See G. Bartrum, 'Dürer and his legacy', exh. cat., BM, London 2002, cat. 16.

    Entry from Dürer catalogue:
    'Although this image became one of the best known representations of Dürer to posterity, it is in fact, twice removed from Dürer's own work. As the inscription states, it was engraved by Kilian after Johann Rottenhammer's copy of Dürer's Feast of the Rose Garlands painting of 1506 which was commissioned by the German merchants of the Confraternity of the Rosary for the church of San Bartolommeo in Venice (Anzelewsky 93) Dürer depicted himself in the devotional picture of the Virgin and Child in the right middle ground. Johann Rottenhammer (1564/5 - 1625) was a German painter who lived and worked in Venice between 1589 - 1606, and was essentially the artist responsible for introducing the Venetian style of painting into south German art. His painted copy of the Feast of the Rose Garlands was known in the nineteenth century to be in the collection of the Grimani family in Venice, but has not survived. It may have been commissioned to replace Dürer's original altarpiece in the church of San Bartolommeo which was purchased by the Emperor Rudolf II in 1606 and, according to Sandrart's report, wrapped in cotton, carpets and waterproofed material and transported by four strong men across the Alps to Prague (see Anzelewsky pp. 98, 190). The familiarity of Kilian's image is in part a result of the fact that Joachim von Sandrart, used it as the basis for his illustration of Dürer in his book on German artists, the Teutsche Akademie of 1675. Sandrart's biography, which is the first full appreciation of Dürer's life and art to be published in his own country, played a vital role in the growth of the Dürer cult.'

    This print was issued as a black and white facsimile by the British Museum in 'Reproductions of Prints in the British Museum', New Series Part VI (Specimens of Line-engraving by Masters of Germany and the Low Countries (1530-1620)), Published by the Trustees in 1897, where it was number IV and described there as 'Lucas Kilian. Portrait of Albert Dürer.'; see 1897,08.13.20.4 (Shelfmark 245*.b.20).For other impressions, see 1845,0809.579, E,2.104 and 1856,0815.37.

    More 

  • Bibliography

    • Hollstein 178 bibliographic details
  • Location

    Not on display (German XVIIc Mounted Roy)

  • Associated names

  • Acquisition name

  • Acquisition date

    1845

  • Department

    Prints & Drawings

  • Registration number

    1845,0809.578

Portrait of Albrecht Dürer; after Rottenhammer's copy of Dürer's self-portrait from the Feast of the Rose Garlands; HL, turned slightly to r; wearing a fur-trimmed coat.  1608  Engraving

Recto

Portrait of Albrecht Dürer; after Rottenhammer's copy of Dürer's self-portrait from the Feast of the Rose Garlands; HL, turned slightly to r; wearing a fur-trimmed coat. 1608 Engraving

Image description

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