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拍品專文
Johann Gebhart (fl. 1538-86) was a diptych dial maker of Nuremberg, made a bürger of the city in 1538. Stylistically this dial leaf would appear to be an early example of his work from the 1540s (cf. Baptiste p. 74), though the absence of the upper leaf which Gebhart normally dated on the lower face (1b) means that this dating is tentative.
The engraved plan shows a few traces of original colour and a few small marks, perhaps caused by heat damage. The design seems to have been executed using a combination of burins and punches.
This diptych dial leaf is of great importance, as it is thought to be the only known example bearing a town plan, instead of the traditional figural representations of biblical scenes, or vanitas illustrations depicting the transitory nature of human life.
The plan shows the city from the south, with the river Pegnitz flowing through from west to east, and is probably based on the woodcut of Nuremberg published in Hartmann Schedel's Liber Chronicarum (Nuremberg, 1493). This view of Nuremberg was used as a source by other artists until well into the sixteenth century, and the present dial leaf engraving could be based on either the original image, or a later interpretation of it. Although it is difficult to make precise comparisons between the dial leaf image and other images of Nuremberg, due to variations in perspective and fine detail, it would seem to match similar images of the city dating from the first half of the sixteenth century.
The engraved plan shows a few traces of original colour and a few small marks, perhaps caused by heat damage. The design seems to have been executed using a combination of burins and punches.
This diptych dial leaf is of great importance, as it is thought to be the only known example bearing a town plan, instead of the traditional figural representations of biblical scenes, or vanitas illustrations depicting the transitory nature of human life.
The plan shows the city from the south, with the river Pegnitz flowing through from west to east, and is probably based on the woodcut of Nuremberg published in Hartmann Schedel's Liber Chronicarum (Nuremberg, 1493). This view of Nuremberg was used as a source by other artists until well into the sixteenth century, and the present dial leaf engraving could be based on either the original image, or a later interpretation of it. Although it is difficult to make precise comparisons between the dial leaf image and other images of Nuremberg, due to variations in perspective and fine detail, it would seem to match similar images of the city dating from the first half of the sixteenth century.