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Hans Sebald Beham (1500 Nuremberg - 1550 Frankfurt am Main) “Judicium des Paris”

$2,834.53

£2,133.97

€2,400

CA$3,904.76

A$4,373.08

CHF 2,281.80

MX$53,415.32

NOK 29,031.17

SEK 27,365.36

DKK 18,269.12

About the Item

Hans Sebald Beham (1500 Nuremberg - 1550 Frankfurt am Main) “Judicium des Paris”, The Judgement of Paris, original copperplate engraving, framed behind glass, 1546, dated in the cane top left Dimensions 17 x 13 cm Hans Sebald Beham worked predominantly on a small scale, but with great talent. The German painter and engraver sometimes cultivated a bitingly harsh pictorial language and never shied away from conflict with the authorities; his work is nevertheless one of the most important examples of German Renaissance art after Albrecht Dürer. Hans Sebald Beham was born in Nuremberg in 1500. It is not certain whether he really had the first name Hans, but it is assumed in research based on the shape of his monogram. Hans Sebald Beham was the older brother of Barthel Beham, who also became famous as a painter and engraver. Little is known about the training of both artists; however, due to their obvious proximity to Dürer's work, it is often assumed that Hans Sebald Beham and Barthel Beham completed their first apprenticeship in Albrecht Dürer's workshop. This would also be supported by their connection to Georg Pencz, another important Mannerist painter and engraver who had worked as Dürer's apprentice. Together with Pencz, the Beham brothers supported the radical theologian and reformer Thomas Müntzer, who had temporarily stayed in Nuremberg in 1524. The extent to which they actually joined his violent Anabaptist movement is unclear, but they were taken into custody by the authorities and expelled from the city - a comparatively lenient sentence. Hans Sebald Beham did not stay abroad for long, but returned to his hometown of Nuremberg as early as 1528. There he produced numerous engravings based on mythical and biblical motifs with great diligence and attention to detail, particularly choosing scenes that allowed him to focus on naked women. He was promptly suspected of distributing pornography and Hans Sebald Beham was once again forced to flee Nuremberg. The artist went to Munich, where he worked for Albrecht von Brandenburg, among others, who, as a cardinal and promoter of the sale of indulgences, was one of the fiercest opponents of Martin Luther and the Reformation, but who deliberately ignored the talented Beham's commitment in this regard due to his penchant for art. Nevertheless, he did not stay in Munich for long and instead moved on to Frankfurt am Main in 1532, where he established himself as an artist and respected member of society to such an extent that he was granted full citizenship in 1540. Hans Sebald Beham created a large number of woodcuts and engravings in Frankfurt, of which around 570 works have survived to this day. In doing so, he increasingly distanced himself from the model of his presumed teacher Dürer and showed ever clearer influences of the Italian Renaissance.Hans Sebald Beham hardly made an appearance as a painter; only one work has survived, a decoration for a table top by his frequent patron Albrecht von Brandenburg, which can be admired today in the Louvre in Paris.His hometown of Nuremberg was late to reconcile itself with its outcast son: in 2011, a major retrospective of the Beham brothers was held in the Albrecht Dürer House in Nuremberg - under the motto The Godless Painters of Nuremberg, an allusion to the reasoning behind the former verdict of felony. Hans Sebald Beham died in Frankfurt am Main on November 22, 1550.

Dimensions:
Height: 6.7 in (17 cm)Width: 5.12 in (13 cm)Depth: 1.19 in (3 cm)
Style:
Renaissance (Of the Period)
Materials and Techniques:
Paper
Place of Origin:
Germany
Period:
16th Century
Date of Manufacture:
1546
Condition:
Wear consistent with age and use.
Seller Location:
Münster, DE
Reference Number:
1stDibs: LU9172242193932

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17th century, pair of ink drawings on paper with studies for grotesques, friezes and helmets. Painter of central Italy of the 17th century, signed with monogram “A.M.”. Measurements: cm L 45.5 x H 59.5 x 5.5; cm 22 x 33 / cm L 46.5 x H 59 x 5.5; cm 22.5 x 31.5 The pair of sheets, in good condition, is framed by antique frames in carved and gilded wood. They show some china studies with some studies for different subjects. Specifically, the first sheet represents the design of a frieze of Renaissance taste under which are some studies probably referring to a family coat of arms. Below the center is a monogram “A.M.”. The sheet is also worked on the back in which are drawn some articulated elements of decoration in the style of the Renaissance grotesque...

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