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Lot Essay
The present woodcut was first created in 1508, the year Maximilian began to rightfully carry the Imperial title. The print is thus part of his propaganda campaign to establish himself in this role as Holy Roman Emperor. As Mark McDonald writes, 'Emperor Maximilian was Burgkmair's main patron from around 1508 until 1519. During that time, he became the chief designer of most of his print projects. This print was no doubt inspired by the Emperor's political ambitions and equestrian portraits were an effective way of propagating his image as a defender of church and state. It was first issued in 1508 as one of the earliest examples of colour printing, probably as a special edition for the court, and was paired with another print depicting St George.'
The print was then re-issued ten years later, with the date in the block altered first to 15 8 and then to 1518. It was at this point that the Augsburg woodcutter Jost de Negker added his address to some impressions in letterpress text and possibly began to publish the print in greater numbers.
The earliest states, with the date 1508 and printed in colours, are extreme rarities and virtually unobtainable. They were presumably created as luxury gifts for the inner circle of the Imperial court and members of the high nobility. To our knowledge, only three such impressions survive: one with the line block in black and the additional block printed with powdered gold ink on vellum (Art Institute of Chicago; inv. no. 1961.3); one with the line block in black and the additional block in powdered gold ink printed onto paper prepared in crimson red (Ashmolean Museum, Oxford; inv. no. WA1863.3055); and one with the line block in black and the additional block in white printed onto paper prepared in slate-blue (Cleveland Museum of Art; inv. no. 1950.72). According to the Art Institute of Chicago, these exquisite prints were created in direct competition with Lucas Cranach's first chiaroscuro woodcuts made at and for the court of Frederick the Wise of Saxony.
Even later impressions of this majestic equestrian portrait, printed of the line block only such as the present example, are rare. We have only been able to trace two impressions offered at auction within the last 35 years.
The print was then re-issued ten years later, with the date in the block altered first to 15 8 and then to 1518. It was at this point that the Augsburg woodcutter Jost de Negker added his address to some impressions in letterpress text and possibly began to publish the print in greater numbers.
The earliest states, with the date 1508 and printed in colours, are extreme rarities and virtually unobtainable. They were presumably created as luxury gifts for the inner circle of the Imperial court and members of the high nobility. To our knowledge, only three such impressions survive: one with the line block in black and the additional block printed with powdered gold ink on vellum (Art Institute of Chicago; inv. no. 1961.3); one with the line block in black and the additional block in powdered gold ink printed onto paper prepared in crimson red (Ashmolean Museum, Oxford; inv. no. WA1863.3055); and one with the line block in black and the additional block in white printed onto paper prepared in slate-blue (Cleveland Museum of Art; inv. no. 1950.72). According to the Art Institute of Chicago, these exquisite prints were created in direct competition with Lucas Cranach's first chiaroscuro woodcuts made at and for the court of Frederick the Wise of Saxony.
Even later impressions of this majestic equestrian portrait, printed of the line block only such as the present example, are rare. We have only been able to trace two impressions offered at auction within the last 35 years.