“Four nude women” by
Israhel van Meckenem |
Collection of Maria und Rudolf Perlberger
Author:
René Schober
René Schober
Four Nude Women
The Academy of Fine Arts Graphic Collection has over 500 prints by Albrecht Dürer, representing almost the entire print œuvre of 260 copper engravings, woodcuts and iron etchings by the Nuremberg master. In some cases, there are also several sheets or copies by other artists. This allows comparisons of different prints, print runs and their condition and also comparisons between originals and later copies. Four Nude Women by Israhel van Meckenem (c. 1440/45–1503) – an early German engraver who often worked on models by others – is a copy of the engraving of the same name by Dürer that is remarkable in several ways. It is interesting that van Meckenem, an established and renowned artist in his own right, should faithfully copy, albeit as a mirror image, a design by a much younger colleague. Moreover, the original was created in 1497 and the copy made quite soon afterwards – in 1503, the year Dürer died. This is an indication of the growing popularity of Dürer’s prints and the enormous demand, which suggested that it would be worthwhile to make copies. Finally, van Meckenem signed the copy with his own name and not the monogram “AD” by the relatively young Dürer. It is possible that the sheet had better prospects for sale with the name of the better-known artist at the time – notwithstanding copyright, a concept that was only just developing.
Until Schmidt’s bequest in 1986, the Graphic Collection had three prints of Dürer’s Four Nude Women but no copies by anyone, especially Israhel van Meckenem. In view of the significance of this copy, its value for comparison with the extensive Dürer print collection and its rarity on the art market, it may be regarded as one of the more significant print works in the Graphic Collection.
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The Academy of Fine Arts Graphic Collection has over 500 prints by Albrecht Dürer, representing almost the entire print œuvre of 260 copper engravings, woodcuts and iron etchings by the Nuremberg master. In some cases, there are also several sheets or copies by other artists. This allows comparisons of different prints, print runs and their condition and also comparisons between originals and later copies. Four Nude Women by Israhel van Meckenem (c. 1440/45–1503) – an early German engraver who often worked on models by others – is a copy of the engraving of the same name by Dürer that is remarkable in several ways. It is interesting that van Meckenem, an established and renowned artist in his own right, should faithfully copy, albeit as a mirror image, a design by a much younger colleague. Moreover, the original was created in 1497 and the copy made quite soon afterwards – in 1503, the year Dürer died. This is an indication of the growing popularity of Dürer’s prints and the enormous demand, which suggested that it would be worthwhile to make copies. Finally, van Meckenem signed the copy with his own name and not the monogram “AD” by the relatively young Dürer. It is possible that the sheet had better prospects for sale with the name of the better-known artist at the time – notwithstanding copyright, a concept that was only just developing.
Until Schmidt’s bequest in 1986, the Graphic Collection had three prints of Dürer’s Four Nude Women but no copies by anyone, especially Israhel van Meckenem. In view of the significance of this copy, its value for comparison with the extensive Dürer print collection and its rarity on the art market, it may be regarded as one of the more significant print works in the Graphic Collection.
René Schober, Graphic Collection curator
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