Recent Art Acqusitions in American Public Collections

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Recent Art Acqusitions in American Public CollectionsAuthor(s): Gregory MacDonaldSource: Art & Life, Vol. 11, No. 8 (Feb., 1920), pp. 461-463Published by:Stable URL: http://www.jstor.org/stable/20543155 .Accessed: 14/06/2014 05:36Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp .JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact support@jstor.org. .http://www.jstor.org This content downloaded from 91.229.229.205 on Sat, 14 Jun 2014 05:36:42 AMAll use subject to JSTOR Terms and Conditionshttp://www.jstor.org/stable/20543155?origin=JSTOR-pdfhttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jspRecent Art Acqusitions in American Public Collections BY G 1REGRV MACDONALD INE impressions of the woodcuts of the Dance of Death series, designed by Hans Holbein the Younger and cut by Hans Lut zelburger are rare and exceptionally so in proof form. Such a proof set has been acquired by the Metropolitan Museum of Art, New York. Of this series the Museum Bulletin says: "There are com plete sets of proofs in the British Museum Print Room, The Berlin Cabinet, the Cabinet d'Estampes at- Paris, theMuseum at Bale, and the Print Cabinet at Karl srnihe. . . . How many complete sets there may be in private hands it is im possible to tell, but CCount von Lanna I-i%,coPa- A 4in l4c + onoa1cr%11 n n tinF t.n hlip effect that after long searching and much trouble he had at last been able to put together what he. said was the sixth futll set known, re ferring thereby to those five celebrated sets in great Euro pean collections mentioned above.-" A few years be fore the war the Lanna set was sold at auction. I do not know its present whereabouts. The Museum's newly acquired set has the forty-one prints which Woltmann lists, forty as hav ing appeared in proof issue, and also a duplicate of one plate. The first edition in book form of The Dance of Death ap peared in I538, printed at Lyons with the forty-one plates. Woltmann puts forty subjects in the first proof edition (with titles in Italic letters). The Astrologer appears as an additional plate in the second proof set (titles in Gothic letters). The I545 edition adds The Soldier to the. other forty-one plates. Woltmann does not mention The Soldier as being in the first proof set. The plates of the Metropolitan Museum set cannot, with the exception of three plates, be definitely arranged to the first or second proof sets as the titles of all but three plates have been cut away. The n.npr of lesaealoehbtvaiin. The designs of The Dance of Death, says Mr. William M. Ivins, Jr. in- the Museum Bulletin " are best known to English- speaking readers through the etched copies by Hollar, - the wood engravings by John B-ewick, and the 'facsimiles' en graved on wood by Bonner, Byfield and Powis for Douce's Dance of Death, the latter of which have frequently been re printed in cheap editions, one of the last of which has a gracefild preface by Austin Dobson. The Hollar and Be wick versions are interesting chiefly to those interested XgB~~ ~~~~~~~~ JL Courtesy Met;ropolitan Museum of Art: T1HE OLD MAN. FRO M " THE DANCE OF DEATH " BY HANS HOLBEIN THE YOUNGER 46I This content downloaded from 91.229.229.205 on Sat, 14 Jun 2014 05:36:42 AMAll use subject to JSTOR Terms and Conditionshttp://www.jstor.org/page/info/about/policies/terms.jsp462 ART & LIFE Courtesy The Brooklyn Museum PORTRAIT OF A MAN. BY FRANK DUVENECK in these two artists, as they are, to say the least, but free and timid interpretations of a mighty theme. The Douce 'fac similes' are in some respects quite re markable, as they were copied on the block before the days of photography. At a casual glance they bear strong- re semblance to the originals, but once seen side by side with a set of the proofs, they become little more than memoranda of the compositions, for the most beautiful, sensitive drawing and sharp observation of the originals have been lost, and no where do they show any trace of that inimitable knife work, which led that most exigent critic of woodcutting, the late W. J. Linton to say of Lutzelburger's work, "Nothing, indeed, by knife or by graver, is of higher quality than this man' s doing," for by common acclaim the originals are technically the most marvellous woodcuts ever made. We do not know for what purpose Hol bein designed these plates of The Dance of Death, and we can only surmise that they were done before I527, since a num ber of drawings after them are in the Berlin cabinet and bear that date. None of the plates is signed nor was his name attached to any reference in the very early editions of the series in book form. Holbein's Old Testament series, however, includes four of The Dance of Death blocks and in the I539 edition of this work the book's illustrations are accredited to Hol bein. On The Duchess block of The Dance of Death set appear the letters H. L. From this and from other indications the cutting of the blocks has been ascribed to Hans Lutzelburger, of whose life prac tically nothing is known. The Portrait of a Man by the late Frank Duveneck here reproduced has recently been acquired by the Brooklyn Museum. It is an exceptionally fine example of Duveneck's masterly work, too little known except among connoisseurs. So much cf Duveneck's life was devoted to teaching, and extraneous circum stances, as we are told, preventing his art from a natural and complete develop ment, that masterpiees from his hand are equal treasures indeed. Duveneck studied in Munich and in Italy and his later yea-rs were spent in Cincinnati. Readers of Whistler's Gentle Art of Mak ing Enemies will recall the reference therein to the series of etchings of Venice exhibited at a London dealer's in i88i which two famous connoisseurs insisted must be the work of Whistler. It seems somewhat strange that Duveneck should not have gone further in this line, since his extraordinary powers of assimilation seemed to be backed by personal ability of a high order when exercised. Courtesy Metropolitan Museum of Art EGYPTIAN PECTORAL OFjTHE XIITH DYNASTY WHICH BELONGED TO'SENUSERT II This content downloaded from 91.229.229.205 on Sat, 14 Jun 2014 05:36:42 AMAll use subject to JSTOR Terms and Conditionshttp://www.jstor.org/page/info/about/policies/terms.jspRECENT ART ACQUISITIONS IN AMERICAN PUBLIC COLLECTIONS 463 Courtesy Metropolitan Museum of Art PECTORAL AND NECKLACE OF DROP BEADS OF GOLD, CARNELIAN, LAPIS LAZULI AND GREEN FELDSPAR WHICH BELONGED TO SENUSERT II, OF EGYPT, XIITIr DYNASTY The'Metropolitan Museum of Art has issued a separate section of its Bulletin for December devoted to an outline de scription of the Treasure of Lahun, dis covered by Professor W. M. Flinders Petrie in Egypt in the Spring of I9I4 This discovery says the Bulletin, "con 3isted in the recovery, in its entirety and in the same perfect condition in which it had been placed in the tomb, of a complete complement of jewelry, ex quisite in its character and in quality of workmanship, which had once graced the person of the Princess Sat-hathor iunut (=Daughter of Hathor of Den dera), who was in all probability the daughter of King- Senusert II of the XII Dynasty, who reigned from I906 to I887, B. C., and near whose pyramid at' Lahun she was -buried. With the jewelry was also found a series of beautifully wrought vases, some of alabaster and others of obsidian mounted'in gold, for cosmetics and unguents, together with other articles of the toilet, while in another part of the tomb'were four superb alabaster Canopic jars bearing the' name and title of the princess." Through the generosity of Mr. Henry Walters in contributing a sum to that available from the Rogers Fund the Metropolitan Museum of Art was enabled to purchase nearly all the objects of this find, although certain pieces were retained by the Egyptian authorities for the Museum at Cairo. It is no exaggeration to say that these objects constitute the most valuable group of jewelry that ever reached Europe or America. It is only in the contemplation of such perfect examples of the art of the ancients that we can fully appreciate the remark able state to which applied art attained in their dimly remote day. We have, until recently, been accustom ed to think of Egyptian archaeological re mains as dull mummified records of a past that could have little of vital interest to the majority of moderns. The finely arranged Egyptian exhibits in the Metro politan Museum of Art have done much to dispel this false notion and to enable us to see how close is the bond of sym pathy between the life of today and that of all those thousands of years preceding our own epoch. This content downloaded from 91.229.229.205 on Sat, 14 Jun 2014 05:36:42 AMAll use subject to JSTOR Terms and Conditionshttp://www.jstor.org/page/info/about/policies/terms.jspArticle Contentsp. 461p. 462p. 463Issue Table of ContentsArt & Life, Vol. 11, No. 8 (Feb., 1920), pp. 411-466Front MatterClaude Lorrain and His Home [pp. 411-420]Royal Parade Armor at Madrid [pp. 421-429]Art and Armies [pp. 430-436]Florentine Studies: II. The Triumphs of Petrarch Engraved by the Master of the Larger Vienna Passion [pp. 437-443]The Ways of the Illustrator [pp. 444-447]The Tower of the Metropolitan [p. 447-447]The Newfoundland Dog [pp. 448-450]On Folk Music [pp. 451-453]Two Dramatists of the Medival [pp. 453-455]Costume as an Expression of Ideals [pp. 456-460]Recent Art Acqusitions in American Public Collections [pp. 461-463]Notes on New BooksReview: untitled [p. 464-464]Review: untitled [pp. 464-466]Review: untitled [p. 466-466]Review: untitled [p. 466-466]Review: untitled [p. 466-466]Review: untitledReview: untitledReview: untitledBack Matter