ISRAHEL VAN MECKENEM (1440-1503)
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION
ISRAHEL VAN MECKENEM (1440-1503)

The Organ Player and his Wife

細節
ISRAHEL VAN MECKENEM (1440-1503)
The Organ Player and his Wife
engraving
circa 1495-1503
on laid paper, without watermark
a fine impression of this very rare print
first state (of three)
printing with good contrasts, clarity and depth
with a light plate tone
with thread margins and a 4-6 mm. blank borders outside the subject
in very good condition
Plate 169 x 119 mm.
Sheet 171 x 120 mm.
來源
Baron Hans Albrecht von Derschau (d.1824), Nuremberg (Lugt 2510); sold as part of his collection to the Prussian state in 1835. Kupferstichkabinett der Königlichen Museen, Berlin (Lugt 1606); acquired from the above; with their de-accession stamp (Lugt 5615).
Fritz Rumpf (1856-1927), Potsdam (Lugt 2161); his sale, H. G. Gutekunst, Stuttgart, 18-23 May 1908, lot 880 ('Vorzüglicher Abdruck von tadelloser Erhaltung und mit Rändchen. Von grösster Seltenheit.') (ill.) (Mk. 4,500; to Artaria).
With Artaria & Co., Vienna.
Rudolf Ritter von Gutmann (1880-1966), Vienna (Lugt 2770); presumably acquired from the above; confiscated by the Nazi authorities, and transferred to the Zentraldepot at the Kunsthistorisches Museum, Vienna, 29 August 1941 and restituted to the Gutmann family in July 1947.
Private European Collection; then by descent to the present owners.
出版
Bartsch 175; Lehrs, Hollstein 507

榮譽呈獻

Stefano Franceschi
Stefano Franceschi Specialist

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拍品專文

This charming interior is one of a series of six engravings by Israhel van Meckenem, each showing a couple engaged in domestic scenes or recreational activities. The couple depicted here is emblematic of marital harmony, as wife and husband are playing a table organ together, her working the bellows and him playing the melody. It is an intimate, joyous moment in a comfortable setting, a compact scene enriched with many exquisite details, such as the convex mirror on the wall above the wife, the geometrically patterned, tiled floor, the smiling dog as a symbol of loyalty, and the emphasized view into the marital bed chamber in the background.
It is worth remembering in this context that Meckenem himself produced a very moving double portrait of himself and his wife Ida in 1490, which is not only the first self-portrait, but also the first signed one and the first portrait of artist with his wife in the history of European printmaking.
Despite Meckenem's apparent commercial success as an engraver, the present print is missing from many important public collections, and is of great rarity on the art market. We were able to trace only one other impression to be sold at auction in over 30 years.

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