Allegory of War
| Reference: | S45481 |
| Author | Cornelis CORT |
| Year: | 1564 |
| Measures: | 295 x 220 mm |
€575.00
| Reference: | S45481 |
| Author | Cornelis CORT |
| Year: | 1564 |
| Measures: | 295 x 220 mm |
€575.00
Description
Engraving, 1564, lettered below left "Martinus hemskerck / inventor" and numbered nearby ".5.". Below two cartouches with three lines of text "BELLUM minas ... CRUDELITAS". The figures labelled in the design.
The triumph of War; "Bellum", wearing armour and holding a sword and flames, sits atop a chariot pulled by two armoured war horses; driving the chariot is "Furor", holding the reins and a torch and accompanying it are "Rixa", "Blasphema" and "Fames"; in the chariot between is the kneeling female figure "Humilitas"; in the background is a burning city; after Heemskerck.
This is one from a series The cycle of the vicissitudes of human affairs, nine numbered plates showing allegorical figures on processional wagons after Maarten van Heemskerck (New Hollstein 482-490), engraved by Cornelis Cort (New Hollstein 223-227). Related drawings are in the Statens Museum for Kunst, Copenhagen.
A fine impression on contemporary laid paper with thin margins, very good condition.
Bibliografia
Ilja.Veldman, 'Maarten van Heemskerck and Dutch Humanism in the sixteenth century', 1977, pp. 133-141; I. Veldman, in J. van Grieken - G. Luijten - J. van der Stock, "Hieronymus Cock: The Renaissance in Print", exh.cat. Royal Library of Belgium in Brussels and Fondation Custodia in Paris, New Haven and London, 2013, cat.n. 48; New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (486.I); Bierens de Haan 1948 / L'oeuvre gravé de Cornelis Cort, graveur hollandais 1533-1578 (pp. 213-214); Riggs 1977 / Hieronymus Cock, Printmaker and Publisher (146).
Cornelis CORT (Hoorn, nr Alkmaar, 1533 - Roma, prima del 22 Aprile 1578)
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North Netherlandish engraver and draughtsman, active in Flanders and Italy. His first documented works are a series of engravings issued by the Antwerp publisher Hieronymous Cock, beginning c. 1553. Cort may have been an apprentice within Cock’s establishment, as none of these prints was inscribed with his name until after the plates had passed out of Cock’s hands. A letter of 1567 to Titian from the Netherlandish writer and painter Domenicus Lampsonius (1532–99) describes Cock as Cort’s master. By 1560 Cort had developed a bold and strongly modelled sculptural style of engraving, influenced in part by the Italian Giorgio Ghisi, who worked for Cock between 1550 and 1555. Cort was particularly successful in reproducing the Italianate figure compositions of Frans Floris, after whom he engraved more than 50 prints, notably the Liberal Arts (seven prints; 1565) and the Labours of Hercules (ten prints; 1565). He also reproduced compositions by Maarten van Heemskerck, Andrea del Sarto, Rogier van der Weyden and others while working for Cock.
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Cornelis CORT (Hoorn, nr Alkmaar, 1533 - Roma, prima del 22 Aprile 1578)
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North Netherlandish engraver and draughtsman, active in Flanders and Italy. His first documented works are a series of engravings issued by the Antwerp publisher Hieronymous Cock, beginning c. 1553. Cort may have been an apprentice within Cock’s establishment, as none of these prints was inscribed with his name until after the plates had passed out of Cock’s hands. A letter of 1567 to Titian from the Netherlandish writer and painter Domenicus Lampsonius (1532–99) describes Cock as Cort’s master. By 1560 Cort had developed a bold and strongly modelled sculptural style of engraving, influenced in part by the Italian Giorgio Ghisi, who worked for Cock between 1550 and 1555. Cort was particularly successful in reproducing the Italianate figure compositions of Frans Floris, after whom he engraved more than 50 prints, notably the Liberal Arts (seven prints; 1565) and the Labours of Hercules (ten prints; 1565). He also reproduced compositions by Maarten van Heemskerck, Andrea del Sarto, Rogier van der Weyden and others while working for Cock.
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