.jpg?w=1)
拍品专文
Dürer was fascinated by horses and riders, and this is his first proper treatment of the subject in print. It was the first of many, including some of his most important works, with the woodcut The Knight and the Lansquenet (circa 1496), and the two engravings of Saint Eustace (lot 157) and Knight, Death and the Devil (lot 161) being the most noteworthy.
Several drawings on the subject are recorded, mostly from his early years, and this engraving is quite closely related to a drawing in the City Museum of Gdansk (Winkler 9), inscribed by Dürer's hand: "Dz hat wofgang pewrer gemacht Im 1484 Jor" ('wofgang pewrer made this In the year 1484'). Apparently, in this drawing young Dürer had copied a now lost engraving by Wolfgang Beurer, the Monogrammist WB.
Dürer's little engraving, so full of speed and fun, was very popular and copied at least five times by other engravers. It is part of a group of small secular prints created around 1496-97 which were popular with a public hungry for depictions of 'real life', and useful to other artists. The present impression belonged indeed to another illustrious artist and print collector of the 17th century, Peter Lely, whose marks can be found on the recto of the sheet.
The present impression compares favourably with the Slade impression in the British Museum.
Several drawings on the subject are recorded, mostly from his early years, and this engraving is quite closely related to a drawing in the City Museum of Gdansk (Winkler 9), inscribed by Dürer's hand: "Dz hat wofgang pewrer gemacht Im 1484 Jor" ('wofgang pewrer made this In the year 1484'). Apparently, in this drawing young Dürer had copied a now lost engraving by Wolfgang Beurer, the Monogrammist WB.
Dürer's little engraving, so full of speed and fun, was very popular and copied at least five times by other engravers. It is part of a group of small secular prints created around 1496-97 which were popular with a public hungry for depictions of 'real life', and useful to other artists. The present impression belonged indeed to another illustrious artist and print collector of the 17th century, Peter Lely, whose marks can be found on the recto of the sheet.
The present impression compares favourably with the Slade impression in the British Museum.