[from 'The Triumph of Maximilian I']
Collection:CSM Museum & Study Collection
Date: c.1512 - 1519
Maker: Hans Burgkmair
Printer: Hans Burgkmair
Dimensions:
Image: 394 x 376 mm (39.4 x 37.6 cm)
Sheet: 428 x 411 mm (42.8 x 41.1 cm)
Object number: P.47.1
See Also
DescriptionThis is from the unfinished group of 137 woodcut prints from 'The Triumph of Maximilian I', commissioned by the Holy Roman Emperor (whose court was in Augsburg) Maximilian I in 1512, to celebrate the collective triumphs of his reign. In actual fact, Maximilian has been criticised for ignoring his own subjects and was constantly at war, in order to expand his Empire. The interior suffered, financially and economically, but Maximilian's encouragement of the arts has been celebrated. Burgkmair was one of a number of artists working in Maximilian's court and had worked on other projects for the Emperor (before and during the epic 'Triumph'). His prints dominate the 'triumph'; he drew 66 of the 137 'pages' and probably cut a large number of the blocks as well. Other artists involved in the project included Durer (who only made two prints for this series but also helped create the 'Triumphal Arch'), Wolf Huber, Hans Springinklee, Leonard Beck and Hans Schauflein. The illustrations were made to specifications from the Emperor himself, as recorded by his secretary Treitszaurwein (see notes and documentation).
This woodcut was conserved for his HND major project in 1991 by Mark Sandy who is now director of the MA Conservation Course. They are eighteenth century pulls from the original sixteenth century woodblocks. The prints had suffered losses, tears and creases and been discoloured by surface dirt and oxidation. After the removal of the dirt they were humidified to relax the creases and washed aqueously to remove some discolouration. The oxidative discolouration was reduced by locally applying a solution of sodium borohydride. Following these treatments the prints were repaired and mounted. Various repair techniques were used including infilling a missing area using liquid paper pulp.
(Notes from Table Object Item): Printer, probably Burgkmair. This is number (or page) 86 in the 'Triumph of Maximilian I' series. It depicts three mounted men holding heraldic banners. These aristocratic riders (probably from the Emperor's extended family and court) represent "Boulogne - Alost - Chimany" from the Emperor's French domains. It is a four block print with one corrective replacement (or plug) at hip level of the figure on the left. This print (along with P.47.2) represents the Burgundian Territories; Maximilian had married Mary of Burgundy, daughter of Charles the Bold in 1477, becoming master of these territories on her death in 1482. The banners held by the riders are emblazoned with their respective Coats of Arms, a large plume and ribbon decorated helmet and the figure of a woman (presumably the wife of the rider). Treitszaurwein's commentary on the Emperor's specifications : "The Burgundian Territories shall have banners, borne on horseback like the Austrian Banners, but no one shall wear armour. Instead they shall be clad most magnificently and wear costly chains."
This woodcut was conserved for his HND major project in 1991 by Mark Sandy who is now director of the MA Conservation Course. They are eighteenth century pulls from the original sixteenth century woodblocks. The prints had suffered losses, tears and creases and been discoloured by surface dirt and oxidation. After the removal of the dirt they were humidified to relax the creases and washed aqueously to remove some discolouration. The oxidative discolouration was reduced by locally applying a solution of sodium borohydride. Following these treatments the prints were repaired and mounted. Various repair techniques were used including infilling a missing area using liquid paper pulp.
(Notes from Table Object Item): Printer, probably Burgkmair. This is number (or page) 86 in the 'Triumph of Maximilian I' series. It depicts three mounted men holding heraldic banners. These aristocratic riders (probably from the Emperor's extended family and court) represent "Boulogne - Alost - Chimany" from the Emperor's French domains. It is a four block print with one corrective replacement (or plug) at hip level of the figure on the left. This print (along with P.47.2) represents the Burgundian Territories; Maximilian had married Mary of Burgundy, daughter of Charles the Bold in 1477, becoming master of these territories on her death in 1482. The banners held by the riders are emblazoned with their respective Coats of Arms, a large plume and ribbon decorated helmet and the figure of a woman (presumably the wife of the rider). Treitszaurwein's commentary on the Emperor's specifications : "The Burgundian Territories shall have banners, borne on horseback like the Austrian Banners, but no one shall wear armour. Instead they shall be clad most magnificently and wear costly chains."
