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Description:This fine, original antique Heliograph two panels of the parable of The Rich Man and Lazarus or Dives and Lazarus or Lazarus and Dives by the German engraver Heinrich Aldegrever or Aldegraf in the early 16th century was re-engraved and published by Charles Amand-Durand in 1870.These faithful re-engravings of classic and historical wood-cuts were faithfully re-issued by Amand-Durand in Paris in the mid to late 19th century. Such is the quality of his re-strikes that Durands prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background on Amand-Durand.
General Definitions:Paper thickness and quality: - Heavy and stablePaper color : - off whiteAge of map color: -Colors used: -General color appearance: -Paper size: - 13 1/2in x 9 1/2in (345mm x 240mm)Plate size: - 8in x 6in (205mm x 1530mm)Margins: - Min 1in (25mm)
Imperfections:Margins: - NonePlate area: - NoneVerso: - None
Background: Heinrich Aldegrever or Aldegraf (1502–1561) was a German painter and engraver. He was one of the Little Masters, the group of German artists making small old master prints in the generation after Dürer.Painter, printmaker and goldsmith active in a Westphalia milieu. Born in Paderborn. His real name was Trippenmecker, which in Westphalian dialect means a clog-maker. It is not known where Aldegrever was taught. He probably worked in a workshop of one of the Soest goldsmiths. His early works show a strong Westphalian influence. Aldegrever made a journey to the Netherlands, where he became acquainted with works of Joos van Cleve, Barendt van Orley, Lucas van Leyden and Jacob Cornelisz.Around 1525 he moved to Soest, where a year later he painted the wings and predella of the Mary altar for the church of St. Peter. His signature and symbolic clog show that he was still using his fathers name.His first engravings appeared in 1527. They were signed with a monogram AG, resembling closely that of Albrecht Dürer. In 1531, influenced by surrounding religious fervour, he became a Lutheran. Because of lack of church commissions he devoted most of his time to portrait painting and printmaking. Aldegrevers some 290 engravings and woodcuts, chiefly from his own designs, are delicate and minute, though somewhat hard in style, and entitle him to a place in the front rank of the so-called Little Masters: Barthel Beham, his brother Hans Sebald Beham, and Georg Pencz, with whom he is often compared. Like them, he was also a skilled ornament designer. From the close resemblance of his style to that of Albrecht Dürer he has also sometimes been called the Albert of Westphalia.About a third of his prints were ornamental engravings; they were used as models by artists and craftsmen well into the seventeenth century.Aldegrever, who actively supported the Reformation, executed portraits of Martin Luther and Philip Melanchthon. Although he chose the Lutheran Church, he had friends among the Anabaptists. He was commissioned by the bishop of Münster in 1535–36 to engrave portraits of Anabaptist leaders Jan van Leyden and Bernhard Knipperdolling, although they were already imprisoned, and only caricatures of them circulated. In the cycle Power of Death, done under visible influence of Hans Holbein, he criticizes the vices of the Catholic Church.Aldegrever was interested also in folk subjects. In 1538 and 1551 two series of prints depicting marriage dances were made. An important part of his oeuvre are prints on mythological subjects, the Deeds of Hercules being one of the best examples.Only two paintings are firmly attributed to him: the wings and predella of the Marienaltar (c. 1525-6) in the Wiesenkirche in Soest, and a portrait of Graf Phillip von Waldeck (1837) in Schloss AroldsenThe parable of the rich man and Lazarus(also called the Dives and Lazarus or Lazarus and Dives) is a well-known parable of Jesus appearing in the Gospel of Luke.The Gospel of Luke (Luke 16:19–31) tells of the relationship, during life and after death, between an unnamed rich man and a poor beggar named Lazarus. The traditional name Dives is not actually a name, but instead a word for rich man, dives in the text of the Latin Bible, the Vulgate. The rich man was also given the names Neuēs (i.e. Nineveh) and Fineas (i.e. Phineas) in the 3rd and 4th centuries.Along with the parables of the Ten Virgins, Prodigal Son, and Good Samaritan, it was one of the most frequently illustrated parables in medieval art, perhaps because of its vivid account of an afterlife.