ALBRECHT DÜRER (1471-1528)
PROPERTY FROM A PRIVATE SWISS COLLECTION
ALBRECHT DÜRER (1471-1528)

Five Soldiers and a Turk on Horseback

Details
ALBRECHT DÜRER (1471-1528)
Five Soldiers and a Turk on Horseback
engraving
circa 1495/96
on laid paper, without watermark
a very fine, tonal Meder b impression
very lively and three-dimensional, printing with great clarity and strong contrasts
trimmed just inside the platemark but outside the borderline
in very good condition
Sheet 133 x 145 mm.
Provenance
Joseph Maberly (1783-1860), London and Cuckfield, Essex (Lugt 1845, recto); his sale, Sotheby's, London, 26 May 1851 (and following days), lot 250 ('Superb impression, and extremely rare') (£ 12; to Graves).
With Henry Graves & Co., London.
Alfred Morrison (1821-1897), London and Fonthill (Lugt 151); probably acquired from the above between 1860 and 1868.
Rudolf Ritter von Gutmann (1880-1966), Vienna (Lugt 2770).
Felix Somary (1881-1956), Vienna, Zurich, Washington D.C. (Lugt 4384); then by descent.
Sotheby's, London, 29 June 1993, Old Master Prints - A Private European Collection, lot 34.
With E. & R. Kistner, Nuremberg; presumably acquired at the above sale.
Private Collection, Switzerland; acquired from the above in 1993; then by descent to the present owners.
Literature
Bartsch 88; Meder, Hollstein 81; Schoch Mende Scherbaum 4
A. Morrison, Collection of engravings formed between the years 1860-68, annotated catalogue & index to portraits, by M. Holloway, 1868, London, p. 83, n. 646.

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Lot Essay

Lansquenets, here depicted in splendid dress and feathered hats standing in a landscape, were a loosely associated group of mercenaries, mostly employed in Imperial service. They came into existence towards the end of the 15th century and were a topical subject at the time this engraving was made.
The present work raises the question of the function of such secular prints and their public around 1500. Were they genre scenes to be enjoyed as art for art's sake or designed to serve as models for other artists? Probably both is true. We know from Dürer's own writings that other artists were important customers for his prints. We also know that his prints were widely disseminated and their compositions copied or elements from them appropriated by other painters for centuries to come.
At the same time, images of any kind were still rare and seldom seen outside the confines of churches and the houses of the rich, and the engraving of these rakish warriors in their extravagant attire would have been appreciated simply for being picturesque.

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