List of copper engravings by Martin Schongauer

Martin Schongauer created a total of 116 copper engravings . It is believed that no stitches were lost. None of Schongauer's engravings are dated, which is why there is often no reliable date in research either. A special feature is the monogram with which Schongauer signed each of his engravings.

The numbers in the list correspond to Max Lehrs' numbering . Its history and critical catalog of German, Dutch and French copper engravings in the 15th century contains the most widespread index of Martin Schongauer's engravings. The numbering of teaching is thematically oriented and is still recognized in research.

Hints

Preservation of the stitches

The engravings by Schongauer have survived in unusually high numbers. While five copies of an engraving from the 15th century are the average, the value for Schongauer is around 30. This indicates that copper engravings were already widely used during Schongauer's lifetime. They were used both in workshops as supplements to the sample books and as illustrations in incunabula editions. Some of the prints were also painted over.

After Martin Schongauer's death, the printing plates became the property of his brothers. It was not uncommon for the panels to be used well after the artist's death. Different states of some engravings such as the Enthroned Savior can be proven up to the beginning of the 17th century.

Matthias Quad von Kinkelbach , who had tried to get Schongauer's printing plates , stated in his writing Teutscher Nationalen Herligkeit at the beginning of the 17th century that all printing plates had been destroyed. Only a very small number of printing plates from the 15th century have survived to this day, none by Martin Schongauer.

Motifs

Religious representations dominate among Martin Schongauer's engravings. These have mainly New Testament and salvation history themes with scenes from the life of Mary and Jesus Christ , a cycle of passion and depictions of the apostles . In addition, Schongauer created depictions of male and female saints. The engravings follow existing conventions and did not show any entirely new subjects. Only the depiction of the Battle of Jacob is an exception and probably also the series of the wise and foolish virgins .

Far fewer of the stitches have profane themes. Among them are everyday scenes, but also the coats of arms and ornaments that other artists were supposed to use as models . The two copper engravings showing goldsmith's work are unusual because of their subject matter and were probably no longer achieved in this quality.

List of engravings

No.	image	title	Originated	size	Remarks
L. 1		The Annunciation to Mary	around 1480	162 × 112 mm (bezel)	The copper engraving shows the announcement to Maria , which Schongauer also edited in engravings L. 2 and 3, albeit in a different way. The engraving is based on Rogier van der Weyden and the master ES , but differs from the widespread Dutch models. Instead of a detailed interior scene, Schongauer uses a more abstract and symbolic space that cannot be clearly identified as an interior or exterior space. The reception of the engraving is known from 1484, it is assigned to the middle creative period around 1480.
L. 2		The angel of the Annunciation		169 × 118 mm (bezel) 17.2 × 12.2 mm (plate)	The stitches L. 2 and L. 3 form a pair, although they differ slightly in size and the two figures differ in composition. The scene is largely detached from the room, which is only indicated by the floor line and the light shadow. The long, slender fingers and the empty banner are typical elements of the time. The angel's posture relates to a figure outside the actual pictorial space, which also indicates the conception of a pair of images.
L. 3		Mary of the Annunciation		171 × 119 mm (bezel), 173 × 124 mm (plate)	The representation of Mary is much more self-contained than that of the angel in the previous engraving. In research, the envious engravings L. 2 and 3 are associated with the outer side of the wings of the Orlier altar , an early work by Schongauer. These also show Gabriel and Maria as individual figures, but are far less expressive in the representation of the figures.
L. 4		The (little) birth of Christ		159 × 157 mm (bezel)	The representation of the birth of Christ is almost square, which causes the stronger focus of the composition compared to the representation of the same subject in the engraving L. 5. The engraving cannot be clearly dated, but it probably belongs to the more mature or later work. In this there are other approximately square representations such as the baptism of Christ (L. 8) and the Noli me tangere (L. 15), with which the representation of the birth could act as a fragmentary cycle with the life of Jesus as a theme. The design is independent, but elements such as the long, thin fingers of Maria or the composition are borrowed from Dutch models.
L. 5		The (great) birth of Christ	Early 1470s	258 × 170 mm (edging)	The engraving is part of a series of four depictions from the life of Mary, which also includes The Adoration of the Magi (L. 6), The Flight into Egypt (L. 7) and The Death of Mary (L. 16). Exact dating is impossible, but the engraving is counted as an early work due to the abundance of details, the numerous references to Dutch art and the monogram. The engravings in the series are likely to have been made shortly after Schongauer returned from the Netherlands. The realism of the engraving and its narrative character are not based on the depiction of an ongoing action, but on the detailed location and the emphasis on the mood of the situation. This engraving is an engraved picture in which many elements of panel painting have been borrowed and translated into the new medium.
L. 6		Adoration of the Magi	Early 1470s, before 1479	256 × 168 mm (bezel)	It is the second engraving in the Marienleben series. It can be assigned to the early engravings. Since Michael Wohlgemut borrowed individual motifs from him in his high altar for the Marienkirche in Zwickau, dated 1479, the graphic must have been created before this point in time. Schongauer processed suggestions from Rogier van der Weyden's Columba altar and Dirk Bouts Perle von Brabant called altar. The quality of the graphics becomes particularly clear when compared with the three depictions of this subject by Master ES , which look more ancient than Schongauer's engraving. There are four states of the engraving, of which the fourth has the year 1482.
L. 7		The Flight into Egypt	Early 1470s	255 × 169 mm (bezel) 258 × 172 (plate)	This engraving is the third in the Marienleben series. Due to the reproduction of the paradisiacal and exotic nature, it received great attention from contemporaries. The dragon tree in particular aroused interest and was also discussed in research with regard to a possible nature study for Schongauer. However, this is denied and assumed that the representation goes back to graphic templates and reports of the appearance of the tree. A possible trip to Spain and thus personal knowledge from personal experience are doubted. The scene of the palm tree leaning down refers to apocryphal depictions.
L. 8		The baptism of Christ	before 1482	158 × 158 mm (bezel) 163 × 164 mm (plate)	The almost square stitch is one of those that could form the fargement of a cycle on the life of Jesus with L. 4. It is one of Schongauer's mature or late copper engravings. Since the angel was probably copied in a coat of arms engraving by the master AG in 1481 , it can be assumed that it was made before 1482. The depiction with the angel holding the robe as an assistant figure is traditional and can be found, for example, in Master ES . Schongauer's engraving was widely received. For example, there are altar reliefs from the Tilman Riemenschneider area and the area around Veit Stoss , which were designed according to this model.
L. 9		The great carrying of the cross		286 × 430 mm (plate)	When it was created, this engraving was the largest ever created, and it is also the largest in Schongauer's copperplate engraving. With the Battle of St. James (L. 116) and St. Anthony, tormented by demons (L. 54), the Carrying of the Cross is one of the artist's best-known and most frequently copied engravings. In the composition, Schongauer's depiction is based on a lost cross by Jan van Eyck , which has only survived in copies. However, the Christ type is a German-influenced motif. This clearly shows Schongauer's free handling of templates. The engraving is characterized by a narrative quality that makes the copperplate a medium equal to painting.
L. 10		Christ on the cross with four assistants		106 × 72 mm (bezel) 107 × 73 mm (plate)	The engraving cannot be added, but it is likely that it was made near the time of the other two small cross representations (L. 11 and 12). Christ is shown on the Egyptian cross. The assistant figures form two groups: Maria and Joannes to the right Christ embody the pain of his death, Longinus and the soldier the knowledge. The concentration of the motif leads to a devotional character that was related to the use of such engravings. There are two states of the stitch.
11		Christ on the cross with Mary and John	around 1475	107 × 73 mm (plate)	Two states.
12		Christ on the cross with Mary and John		117 × 84 mm (bezel)
13		Christ on the cross with soldiers throwing the dice		195 × 150 mm (bezel) 202 × 157 mm (plate)
14th		Christ on the cross with four angels		290 × 196 mm (bezel) ? × 211 mm (plate)
15th		Christ and Magdalena (Noli me tangere)		161 × 160 mm (edging)
16		The death of Mary	Early 1470s	255 × 169 mm (bezel) 257 × 171 (plate)	Three states.
17th		The coronation of Mary		161 × 156 mm (bezel) 167 × 161 mm (plate)
18th		Christ blesses Mary		160 × 155 mm (edging)
19th		Christ on the Mount of Olives	around 1475	164 × 116 mm (bezel) 166 × 118 mm (plate)	The Passion of Christ
20th		The Capture of Christ	around 1475	164 × 116 mm (bezel) 169 × 119 mm (plate)	The Passion of Christ
21st		Christ before Hannah	around 1475	163 × 114 mm (bezel) 167 × 120 mm (plate)	The Passion of Christ
22nd		The Flagellation of Christ	around 1475	163 × 116 mm (bezel) 166 × 119 mm (plate)	The Passion of Christ
23		Christ's crowning of thorns	around 1475	161 × 113 mm (bezel) 166 × 118 mm (plate)	The Passion of Christ
24		The hand washing of pilates	around 1475	162 × 115 mm (bezel) 166 × 119 mm (plate)	The Passion of Christ
25th		The exhibition of Christ (Ecce Homo)	around 1475	161 × 112 mm (bezel) 166 × 118 mm (plate)	The Passion of Christ
26th		Christ carrying the cross	around 1475	163 × 115 mm (bezel) 167 × 119 mm (plate)	The Passion of Christ
27		The crucifixion of Christ	around 1475	162 × 115 mm (bezel) 167 × 118 mm (plate)	The Passion of Christ
28		The burial of Christ	around 1475	163 × 116 mm (bezel) 169 × 120 mm (plate)	The Passion of Christ
29		Christ's descent into hell	around 1475	166 × 115 mm (bezel) 168 × 120 mm (plate)	The Passion of Christ
30th		The resurrection of Christ	around 1475	163 × 116 mm (bezel) 167 × 119 mm (plate)	The Passion of Christ
31		The blessing Christ Child		88 × 61 mm (bezel)
32		The blessing Christ		85 × 59 mm (bezel)
33		The enthroned Savior		169 × 120 mm (bezel) 171 × 124 mm (plate)	Three states.
34		The Man of Sorrows between Mary and John		194 × 154 mm (bezel) 223 × 157 mm (plate)	Three states.
35		The (little) standing Madonna		88 × 61 mm (bezel) 90 × 64 mm (plate)
36		The Madonna on the grass bank	second half of the 1470s	122 × 84 mm (bezel)
37		The Madonna with the Parrot		158 × 109 mm (bezel) 159 × 115 mm (plate)	Two states.
38		The Madonna in the courtyard	around 1480	166 × 119 mm (bezel)
39		The standing Madonna with the apple		173 × 125 mm (plate)	Two states.
40		Mary in half figure on the crescent moon		173 × 109 mm (bezel) 178 ×? mm (plate)
41		The apostle Peter	before 1480	89 × 43 mm (plate)	The twelve apostles
42		The apostle Paul	before 1480	90 × 44 mm (plate)	The twelve apostles
43		The Apostle Andrew	before 1480	89 × 44 mm (plate)	The twelve apostles
44		The apostle Jacobus the Elder	before 1480	89 × 43 mm (plate)	The twelve apostles
45		The Apostle John	before 1480	90 × 50 mm (plate)	The twelve apostles
46		The Apostle Thomas	before 1480	90 × 50 mm (plate)	The twelve apostles . Two states.
47		The apostle Judas Thaddäus (?)	before 1480	88 × 43 mm (plate)	The twelve apostles
48		The Apostle Philip	before 1480	89 × 50 mm (plate)	The twelve apostles
49		The Apostle Bartholomew	before 1480	90 × 50 mm (plate)	The twelve apostles
50		The Apostle Matthew	before 1480	89 × 50 mm (plate)	The twelve apostles
51		The apostle Simon	before 1480	90 × 51 mm (plate)	The twelve apostles
52		The Apostle Jacobus Minor (?)	before 1480	89 × 44 mm (plate)	The twelve apostles
53		Saint Anthony standing		88 × 63 mm (bezel)
54		Saint Anthony tormented by demons	early 1470s	312 × 230 mm (bezel) 314 × 231 mm (plate)	Two states.
55		St. Augustine (?)		89 × 61 mm (bezel)
56		Saint Christopher	around 1475	160 × 112 mm (bezel) 164 ×? mm (plate)
57		Saint George slaying a dragon	around 1480	58 × 74 mm (bezel)
58		Saint George slaying a dragon, in the round		85 mm diameter (bezel) 89 × 88 mm (plate)
59		John the Baptist		154 × 114 mm (bezel) 157 × 117 mm (plate)
60		John on Patmos		60 × 114 mm (bezel) 164 × 118 mm (plate)
61		Saint Laurence		160 × 112 mm (bezel) 166 × 118 mm (plate)
62		Saint Martin		155 × 106 mm (bezel) 157 × 107 mm (plate)
63		The Archangel Michael		162 × 113 mm (bezel)
64		Saint Sebastian (little)		71 × 44 mm (bezel) 75 × 47 mm (plate)
65		The (great) saint Sebastian		156 × 111 mm (bezel)
66		Saint Stephen		162 × 113 mm (bezel) 165 × 117 mm (plate)
67		Saint Agnes with the lamb		153 × 103 mm (bezel) 155 × 104 mm (plate)
68		Saint Barbara		99 × 59 mm (plate)
69		(Little) Saint Catherine		98 × 55 mm (plate)
70		The (great) Saint Catherine		146 × 100 mm (bezel) 150 × 106 mm (plate)
71		Saint Veronica		88 × 60 mm (bezel)
72		The angel of Matthew		87 mm diameter (bezel) 92 × 92 mm (plate)	Evangelist symbols
73		Mark's lion		87 mm diameter (bezel) 91 × ​​91 (?) Mm (plate)	Evangelist symbols
74		The bull of Luke		87 mm diameter (bezel)	Evangelist symbols
75		The eagle of John		87 mm diameter (bezel)	Evangelist symbols
76		The first wise virgin	before 1483	121 × 85 mm (bezel) 125 × 88 mm (plate)	The wise and the foolish virgins . Two states.
77		The second wise virgin	before 1483	121 × 83 mm (bezel)	The wise and the foolish virgins
78		The third wise virgin	before 1483	122 × 83 mm (bezel) ? × 88 mm (plate)	The wise and the foolish virgins
79		The fourth wise maiden	before 1483	121 × 83 mm (bezel) 126 × 87 mm (plate)	The wise and the foolish virgins
80		The fifth wise virgin	before 1483	121 × 83 mm (bezel) 125 × 87 mm (plate)	The wise and the foolish virgins
81		The first foolish virgin	before 1483	123 × 84 mm (bezel) 125 × 87 mm (plate)	The wise and the foolish virgins
82		The second foolish virgin	before 1483	121 × 83 mm (bezel) 124 × 87 mm (plate)	The wise and the foolish virgins
83		The third foolish virgin	before 1483	120 × 84 mm (bezel) 125 × 88 mm (plate)	The wise and the foolish virgins
84		The fourth foolish virgin	before 1483	120 × 82 mm (bezel) 124 × 88 mm (plate)	The wise and the foolish virgins
85		The fifth foolish virgin	before 1483	121 × 83 mm (bezel) 125 × 87 mm (plate)	The wise and the foolish virgins
86		Foolish virgin in half length		147 × 108 mm (plate)
87		The fighting apprentices	around 1480	57 × 74 mm (bezel)
88		The miller with donkey and filler		87 × 124 mm (sheet)
89		Two Turks (?) In conversation	around 1475	90 × 50 mm (sheet)
90		Farmers on the way to the market		163 × 163 mm (plate)
91		The pigs		70 × 93 mm (edging)
92		Deer and hind		75 × 97 mm (plate)
93		The griffin		99 (plate) × 148 mm (sheet)
94		The elephant		107 × 146 mm (sheet)
95		Heraldic shield with lion, held by an angel		78 mm diameter (bezel)	The coat of arms images
96		Heraldic shield with unicorn, held by a young woman		77 mm diameter (bezel) ? × 82 mm (plate)	The coat of arms images
97		Heraldic shield with swan, held by a virgin		78 mm diameter (bezel)	The coat of arms images
98		Heraldic shield with three stars, held by a virgin		77 mm diameter (bezel)	The coat of arms images
99		Heraldic shield with a lion's head, held by a wild woman		78 mm diameter (bezel)	The coat of arms images
100		Two heraldic shields with griffin foot and cock, held by an oriental		77 mm diameter (bezel)	The coat of arms images
101		Heraldic shield with wings, held by a farmer		77 mm diameter (bezel)	The coat of arms images
102		Heraldic shield with greyhound, held by a wild man		78 mm diameter (bezel)	The coat of arms images
103		Heraldic shield with deer, held by a wild man		78 mm diameter (bezel) 86 × 82 mm (plate)	The coat of arms images
104		Two heraldic shields with a hare and a moor's head, held by a wild man		78 mm diameter (bezel)	The coat of arms images
105		The crosier		274 × 127 mm (sheet)
106		The smoke barrel		291 × 212 mm (sheet)
107		Cross filling with ornamental tendril		56 × 73 mm (bezel)
108		Cross filling with hop tendril		85 × 119 mm (bezel) 86 × 120 mm (plate)
109		Cross filling with parrots and birds		108 × 154 mm (sheet)
110		Cross filling with tufts of turf		110 × 159 mm (sheet)
111		First crab ornament		140 (sheet) × 83 mm (plate)	Four crab ornaments
112		Second crab ornament		139 × 93 mm (sheet)	Four crab ornaments
113		Third crab ornament		130 × 91 mm (sheet)	Four crab ornaments
114		Fourth crab ornament		110 × 70 mm (plate)	Four crab ornaments
115		Fill up with owls and other birds		145 × 102 mm (bezel) ? × 104 mm (plate)
116		St. James the Elder in the battle		289 × 432 mm (plate)	Two states.

literature

• Lothar Schmitt: Martin Schongauer and his copper engravings: materials and suggestions for researching early prints (= art and cultural studies. Volume 2). Weimar 2004. ISBN 3-89739-372-7 .
• Hartmut Krohm, Jan Nicolaisen (eds.): Martin Schongauer: Prints in the Berlin Kupferstichkabinett . Berlin 1991. ISBN 3-7861-1645-8 .
• Tilman Falk, Thomas Hirthe (ed.): Martin Schongauer: Das Kupferstichwerk . Munich 1991. ISBN 3-927803-06-5 .
• Max Lehrs: History and critical catalog of German, Dutch and French copper engraving in the 15th century , 9 volumes. Vienna 1908–1934.

Web links

Commons : Martin Schongauer  - Collection of images, videos and audio files

Individual evidence

1. ↑ ^{a b} Hartmut Krohm & Jan Nicolaisen (eds.), Martin Schongauer. Prints in the Berlin Kupferstichkabinett, Berlin 1991, 14.
2. ↑ Hartmut Krohm & Jan Nicolaisen (eds.), Martin Schongauer. Prints in the Berlin Kupferstichkabinett, Berlin 1991, 13.
3. ↑ Lothar Schmitt, Martin Schongauer and his copper engravings. Materials and suggestions for researching early prints, Weimar 2004, 69.
4. ↑ Lothar Schmitt, Martin Schongauer and his copper engravings. Materials and suggestions for researching early printmaking, Weimar 2004, 70.
5. ↑ Lothar Schmitt, Martin Schongauer and his copper engravings. Materials and suggestions for researching early printmaking, Weimar 2004, 45f.
6. ↑ Hartmut Krohm & Jan Nicolaisen (eds.), Martin Schongauer. Prints in the Berlin Kupferstichkabinett, Berlin 1991, 36.
7. ↑ ^{a b} Hartmut Krohm & Jan Nicolaisen (eds.), Martin Schongauer. Prints in the Berlin Kupferstichkabinett, Berlin 1991, 38.
8. ↑ Hartmut Krohm & Jan Nicolaisen (eds.), Martin Schongauer. Prints in the Berlin Kupferstichkabinett, Berlin 1991, 40–42.
9. ↑ Hartmut Krohm & Jan Nicolaisen (eds.), Martin Schongauer. Prints in the Berlin Kupferstichkabinett, Berlin 1991, 42.
10. ↑ Hartmut Krohm & Jan Nicolaisen (eds.), Martin Schongauer. Prints in the Berlin Kupferstichkabinett, Berlin 1991, 45.
11. ↑ Hartmut Krohm & Jan Nicolaisen (eds.), Martin Schongauer. Prints in the Berlin Kupferstichkabinett, Berlin 1991, 46.
12. ↑ Lothar Schmitt, Martin Schongauer and his copper engravings. Materials and suggestions for researching early printmaking, Weimar 2004, 113f.
13. ↑ Hartmut Krohm & Jan Nicolaisen (eds.), Martin Schongauer. Prints in the Berlin Kupferstichkabinett, Berlin 1991, 48.
14. ↑ Hartmut Krohm & Jan Nicolaisen (eds.), Martin Schongauer. Prints in the Berlin Kupferstichkabinett, Berlin 1991, 52.
15. ↑ Hartmut Krohm & Jan Nicolaisen (eds.), Martin Schongauer. Prints in the Berlin Kupferstichkabinett, Berlin 1991, 53.
16. ↑ Hartmut Krohm & Jan Nicolaisen (eds.), Martin Schongauer. Prints in the Berlin Kupferstichkabinett, Berlin 1991, 54.
17. ↑ Hartmut Krohm & Jan Nicolaisen (eds.), Martin Schongauer. Prints in the Berlin Kupferstichkabinett, Berlin 1991, 56.
18. ↑ Lothar Schmitt, Martin Schongauer and his copper engravings. Materials and suggestions for researching early prints, Weimar 2004, 115.