Oude prenten – Gravures anciennes235 [Flemish]MULLER, Herman Jansz. After Maarten VAN HEEMSKERCK- A selection of 4 prints from 2 Old Testament series. [Antwerp],G. De Jode, s.d.4 engravings, 20,5 x 24,4 and 18,7 x 24,4 cm, signed (wide margins, toned, sm.stain). Stuck by upper corners under passe-partout.150 / 200 €First print of the series «Story of Dinah and Shechem», 2nd state: 1. Dinah goingout and seduced by Shechem. Second to fourth print of the series «The historyof Joash and queen Athaliah», 1st state: 2. Joash presented to the army. - 3.Jehoiada anointing Joash. - 4. The destruction of the house of Baal.Ref. Hollstein XIV: 27 and 36-38. - New Hollstein (Maarten van Heemskerck),31 and 140-142.Only known complete copy on paper236 [Flemish]PÉRIL, Robert - Triumphal Entry of Emperor Charles V andPope Clement VII in Bologna. Antwerp, 1530-1534.24 hand-coloured woodcuts, all fols are c. 29 x 40 cm, 63 x 480 cm (total size),paper, signed with initials. Paper toned brown. Original paper mounted on canvas,mounted on wooden 5 boards (3 boards with 6 folios, 1 board with 4 folios, 1 boardwith 2 folios). At some places paper attached with use of drawing pins. Heavilyoverpainted with gouache, sl. affecting the visibility of the original woodcut. Finalfolio trimmed and missing part repainted by later hand. Scratches and paint stainsthroughout. A detailed condition report can be provided on request.15.000 / 25.000 €On his thirtieth birthday, on 24 February 1530, Charles V was officially crownedin Bologna by Medici Pope Clement VII, following a spectacular and majestic«Joyous Entry» into the city. «It was one of the most spectacular shows of thetime, intended by Charles to impress upon the whole of Europe the dominancehe had achieved in Italy and the power he commanded in his vast lands»(Armstrong 1999, p. 85). The coronation brought a conclusion to a long traditioninitiated by Charlemagne as Charles was the last «Imperator electus» to becrowned by the Pope (with the exception of Napoleon I).The event was recorded and immortalised by the Antwerp publisher and artistRobert Péril, based on sketches made on the spot. He produced twenty-fourseparate woodcuts, which when printed were stuck together in two strips, oneabove the other, forming a frieze nearly 5 metres long. These were most likelyto be fixed to the wall of a room as a decorative, commemorative frieze offeringa wide panorama of the event whereby the onlooker could see the whole cortègepass before his eyes, with printed captions to help him identify individualgroups and characters. The retinue passing through allegorical gates consistsof musicians, banner carriers, knights, prelates, bishops, cardinals and the highHabsburg nobility. Charles V and Clement VII take a central position under abaldachin with the imperial double-headed eagle at the middle of the upperstrip. Placed proudly as the accumulation of the upper strip is Péril’s self-portraitaccompanied by his initials, and the date 1530. Péril, who would later alsopublish the large woodcut of the genealogical tree of the House of Habsburg,received the commission for this elaborate imperial procession from Margaret ofAustria (1480-1530), regent of the Low Countries. While Margaret’s court artistNicolas Hogenberg would record the same event in 40 etchings, Peril providedhis visual version of the ceremony in 24 woodblocks. The tradition of large seriesof woodcuts to commemorate significant events in the House of Habsburg hadalready been firmly established by Charles’s grandfather Maximilian I, who in1507 had hired Hans Burgkmair, Albert Altdorfer, Albrecht Dürer and others toproduce a large woodcut frieze in 137 woodblocks.The only other complete series of Péril’s frieze is the first state, now in thecollection of the Museum Plantin-Moretus in Antwerp. This copy was luxuryedition printed on vellum with contemporary hand-colouring. The text sectionsin the cartouches of the Antwerp copy have been written by Peril’s hand inFrench. Most likely, this edition was presented to the court of Margaret of Austriain Mechelen. A second state was discovered by Nijhof-Seldorff in the Albertinain Vienna, which encompassed only 23 of the 24 woodblocks (1st folio missing).The Vienna edition differs from the Antwerp edition in the placement of theLatin poem capitals above the figures and the inclusion of French text blocksin cartouches with gothic lettering. Until now the Vienna copy was believed tobe unique. Our present woodcut series is the only recorded complete copy onpaper of the second edition, identical to the Vienna state with the addition ofthe first woodcut. It has a later hand-colouring, based upon the original colourspresent in the luxury Antwerp edition slightly affecting the legibility of thewoodcut. The figures in the frieze are accompanied by an ornamented text bandof French gothic lettering in cartouches.Ref. H. Nijhoff-Seldorff, «Der Triumphzug Karl des Vten zu Bologna von RobertPéril, Antwerpen 1930», Oud Holland 48 (1931), pp. 265-270. - J. Van der Stock,«Printing images in Antwerp», 1998, p. 95. - E. Armstrong, «Robert Peril and his1524 privilege», Bibliothèque d’Humanisme et Renaissance 61 (1999), pp; 85-93.- R. Gerrits, «The ‘Triumphal Procession’ of Emperor Charles v and Clement viiin Bologna (1530): Printing and copying news in the Netherlands: Robert Peril,Nicolas Hogenberg and Martin Lempereur», De Gulden Passer 94 (2016), pp.197-218. - Hollstein XVII:1.II. - Muller IV:377E.74 • ARENBERG AUCTIONS • 19.10.2019
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