ARTIST: Heinrich
Aldegrever (1502-1561)
TITLE: Susanna Accused of Adultery (1555)
MEDIUM: Engraving
IMAGE SIZE: 4.5" x 3.25" (11.43 x 8.26 cm)
FRAMED SIZE: 18" x 16.5" (45.7 x 41.9 cm)
SIGNATURE: This work is monogrammed 'AG 1555' in the plate,
in the lower left.
EDITION: From the only state.
CONDITION: This work is in great condition, a fine dark
impression on a fine laid paper! Some very minor conservation
to the extreme upper right corner that does not affect
the overall image.
PRICE: $1,650
ARTIST: Heinrich
Aldegrever (1502-1561)
TITLE: Two Elders before the Judge (155)
MEDIUM: Engraving
IMAGE SIZE: 3.5" x 4.75" (8.89 x 12.1 cm)
SHEET SIZE: 3.5" x 4.75" (8.89 x 12.1 cm)
FRAMED SIZE: 22.5" x 21" (57.2 x 53.34 cm)
SIGNATURE: This work is monogrammed 'AG 1555' in the plate,
in the lower left.
CONDITION: This work is in great condition, a rich dark
impression on a fine laid paper with complete Fool's Cap
watermark.
PRICE: $1,500
ARTIST: Heinrich
Aldegrever
TITLE: Absolom Killing Amon
MEDIUM: Engraving
IMAGE SIZE: 5"x 3" (12.1 x 7.9 cm)
FRAMED SIZE: 13 ½" x 15" (34 1/3 x 38
cm)
SIGNATURE: The signature of the artist appears in the
image on the lower left hand corner.
EDITION: This is part of a set of seven plates titled
"The story of Amnon and Tamar."
CONDITION: This piece is in excellent condition.
PRICE: $1,500
From Heinrich
Aldegrever's two engraved self-portraits of 1530 and 1537
at the ages of 28 and 35, it is evident that he was bom
in 1502, presumably in Paderborn, home of his parents,
Herman and Katherine Trippenmeker, called Aldegrever.
Like his father (who had demanded, unsuccessfully, to
be executed along with sixteen Paderborn citizens who
had been arrested during a religious uprising in 1532),
Aldegrever participated in the Protestant Reformation.
He established himself permanently in nearby Soest ca.
1525, where he entered the painters' guild around 1526-27,
and became a citizen of the city in 1530. His first engraving
is dated 1527. Aldegrever's training and course of his
presumed Wandejyabr are uncertain, but trips to Nuremberg
(according to van Mander, who implies that Aldegrever
had worked in Durer's shop), Monster (perhaps as assistant
to Ludger Tom Ring), and Bruges or Antwerp (where he could
have been in touch with Joos van Cleve) have been proposed.
Aldegrever
produced nearly 300 engravings (a third of which were
ornamental sheets) and three etchings on iron. He was
also active as a painter, and perhaps as a goldsmith.
in the latter capacity it is certain that he made at least
three silver seats and a signet ring for Duke Wilhelm
of Cleves. Although Aldegrever was not a member of the
goldsmiths' guild, he apparently taught this craft to
his son, Christoph. Aldegrever may also have been a stained-glass
painter. Stained-glass windows in Soest (Patroclimilnster)
and Conches (Sainte-Foy) have been attributed to Aldegrever;
although the latter, which bears his name, may simply
be after one of his engravings (B. 252).
In 1531 Aldegrever
is mentioned as a cojuror of the Patrocli Shooting Guild,
and he participated in the institution of the Reformation
in Soest in the same year. 1537 he is mentioned by the
satirist Daniel von Soest as having portrayed the judge
Johan van Holte and his beloved posing in the nude, according
to their wishes. About this time Aldegrever engraved his
famous portraits of the Anabaptist leaders Jan van Leyden
and Bernhard Knipperdolling (B. 182, B. 183), and in 1540
he engraved portraits of Luther and Melanchthon (B. 184,
185).
Between 1541
and 1549 his activity is uncertain, and he produced no
dated engravings, but between 1549 and 1555 he issued
his series of the Labors of Hercules (B. 83-95), the Seven
Virtues and Seven Deadly Sins (B. 117-123, 124-130), and
his remarkable Biblical series treating the stories of
Dives and Lazarus (B. 44-48, cat. 37), the Good Samaritan
(B. 40-43, Cat. 35), Susannah (B. 30-33), and Lot (B.
14-17).
Aldegrever
died between 1555, the last year in which he dated an
engraving, and 1561, when his son is recorded as saying
that his father had been a capable stained-glass and panel
painter. Many of Aldegrever's compositions are highly
derivative, and his monogram mimics that of one of his
favorite sources, Albrecht Darer. Van Mander reports that
Alclegrever was buried very humbly, and that he was only
awarded a tombstone (carrying his name and monogram) posthumously,
at the behest of an artist from Monster who came seeking
Aldegrever only to discover that he had died.
Sources:
Allgemeines Kunstlerlexikon 1: 928-32; TbiemeBecker 1:
240-243; Mander, Scbdderboeck, 227-227v; Zschelletzschky,
Das graphiscbe Werk Heinrick Aldegrevers, 5-11.
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