The Resurrection of Christ

Details

Bartsch VI, 127, Nr. 20; Lehrs, Bd. 5, Nr. 30; The New Hollstein 30.

Literatur:
Colmar 1991, Unterlinden Museum, Der hübsche Martin, Kat. Nr. K. 95.

Provenienz:
Ambroise Firmin-Didot (1790-1876), Paris, verso mit dem Stempel (Lugt 119), aus posthumer Versteigerung, Danlos, Paris, 16. April-12. Mai 1887, Los 484;
Louis Galichon (1829-1893), Paris, verso mit dem Stempel (Lugt 1060), aus posthumer Versteigerung, 4-9. März 1895, Los 1054;
Atherton Curtis (1863-1943), New York und Paris, und Louise Burleigh Curtis (1869-1910), Maine und Paris, verso mit dem Stempel (Lugt 94); wohl vor ihrem posthumen Verkauf bei Gutekunst & Klipstein, Bern, am 28. April 1955;
Albert W. Blum (1882-1952), Schweiz und Short Hills, New Jersey, verso mit dem Stempel (Lugt 79b);
Christie’s London, Auktion 1540, 3. Dezember 2014, Los 2.

Description

Sheet 12 from the series: The Passion. Brilliant, strong and high-contrast early impression, of great clarity and purely wiped. With a fine margin around the borderlines. Schongauer created this series of 12 engravings between 1480 and 1483. In the last scene of the Passion, he shows the type of the unharmed Christ, albeit with the stigmata on his hands and feet, but as a real, unwounded Saviour without the crown of thorns. Christ emerges from the open tomb, the crossed slopes of the sarcophagus body and the heavy lid, held by an angel, heighten the spatial effect in unity with the vast landscape in the background and place the Redeemer directly in the centre of the picture. The Passion belongs to the artist’s late work; no further engravings were made after 1483. – Verso with a vertical and horizontal centrefold, with carefully closed paper defects, an inconspicuous, repaired defect in the upper margin and in the sky, which extends into the upper rays of the nimbus, otherwise a fine copy.