Early German Engravers Not Known by Name

Prof. Sachs Traces Work of Men Who Signed Prints With Initials

Transcript — Jan. 15, '37

Only Small Part Saved

Master E. S. Gave the Art Its First Definite Step Forward

Making clear at the outset that with the exception of the great German engraver, Albrecht Dürer, little is known of the men who made the prints of the fifteenth century, Prof. Sachs, in his lecture on "The Fifteen Century German Engravers," at the Fogg Art Museum, said that the best of these early prints are the work of the so-called "Master E. S.," who was active in the upper Rhine Valley and in Switzerland, and that the practice of signing prints was not established until the time of the Van Eycks when the artists began to sign their paintings.

Prof. Sachs, who is the author of the book "The Early Woodcuts of Germany," said that the work of the Master E. S. is of the highest quality and that the artist must have been a painter as well as an engraver. He said that the Master E. S. was the first to use the technique of the cross-hatching, which was developed to a high degree in the work of the Van Eycks.

The lecture was illustrated with a large number of slides, including a number of the Master E. S.'s prints from the Fogg Art Museum and other collections. Prof. Sachs said that the work of the Master E. S. is of great importance in the history of art because it represents the first step in the development of the art of engraving.

Started in Switzerland

"We do not know, perhaps, anything about the Master E. S. except that he was active in the upper Rhine Valley and in Switzerland and that he was the first to use the technique of the cross-hatching," said Prof. Sachs. "But his work is of the highest quality and it is clear that he was a painter as well as an engraver."

Prof. Sachs said that the Master E. S. was probably a goldsmith, as many of the early engravers were, and that he was influenced by the work of the Van Eycks. He said that the Master E. S. was the first to use the technique of the cross-hatching, which was developed to a high degree in the work of the Van Eycks.

Prof. Sachs said that the work of the Master E. S. is of great importance in the history of art because it represents the first step in the development of the art of engraving. He said that the Master E. S. was the first to use the technique of the cross-hatching, which was developed to a high degree in the work of the Van Eycks.

Gothic Genius

In considering Martin Schongauer, Prof. Sachs said that Schongauer was one of the most important figures in the history of engraving. He said that Schongauer was the first to use the technique of the cross-hatching to a high degree, and that his work is of the highest quality.

Prof. Sachs said that Schongauer was the first to use the technique of the cross-hatching to a high degree, and that his work is of the highest quality. He said that Schongauer was the first to use the technique of the cross-hatching to a high degree, and that his work is of the highest quality.

Those Who Followed the Master

Prof. Sachs said that the work of the Master E. S. and Schongauer was followed by a number of artists who were influenced by their work. He said that the work of these artists is of great importance in the history of art because it represents the first step in the development of the art of engraving.

STUDENTS IN FINE ARTS

INCREASE AT RADCLIFFE

College Women Carry On, Six Among the Twenty-Six Carriage Fellows

The number of graduate students in the fine arts at Radcliffe has increased from five to six in the past year, according to the report of the Carriage Fellowship. The six students are: Eleanor S. Carpenter, who is working in the department of architecture; Elizabeth H. Foster, who is studying painting; Margaret G. Gilman, who is studying painting; Margaret G. Gilman, who is studying painting; Margaret G. Gilman, who is studying painting; and Eleanor S. Carpenter, who is working in the department of architecture.

The Carriage Fellowship, which was established in 1908, provides for the support of graduate students in the fine arts at Radcliffe. The fellowship is open to women who are citizens of the United States and who have completed at least one year of graduate work in the fine arts at Radcliffe or at Harvard.

The six students who are receiving the Carriage Fellowship this year are: Eleanor S. Carpenter, who is working in the department of architecture; Elizabeth H. Foster, who is studying painting; Margaret G. Gilman, who is studying painting; Margaret G. Gilman, who is studying painting; Margaret G. Gilman, who is studying painting; and Eleanor S. Carpenter, who is working in the department of architecture.

The six students who are receiving the Carriage Fellowship this year are: Eleanor S. Carpenter, who is working in the department of architecture; Elizabeth H. Foster, who is studying painting; Margaret G. Gilman, who is studying painting; Margaret G. Gilman, who is studying painting; Margaret G. Gilman, who is studying painting; and Eleanor S. Carpenter, who is working in the department of architecture.

The six students who are receiving the Carriage Fellowship this year are: Eleanor S. Carpenter, who is working in the department of architecture; Elizabeth H. Foster, who is studying painting; Margaret G. Gilman, who is studying painting; Margaret G. Gilman, who is studying painting; Margaret G. Gilman, who is studying painting; and Eleanor S. Carpenter, who is working in the department of architecture.

The image shows a page from a newspaper or magazine, focusing on an article titled "Early German Engravers Not Known by Name" by Prof. Sachs. The article traces the work of men who signed prints with initials, particularly highlighting the contributions of Master E. S., a German engraver.

Key points from the article include:

1. Early Engravers' Work: It discusses the early German engraving tradition and the practice of signing prints with initials, which was common before the 18th century.
2. Master E. S.: Prof. Sachs delves into the work of Master E. S., noting that he was a significant figure in the art of engraving. His work, particularly in the 16th century, was highly regarded.
3. Contribution to Art: The article mentions that the Master E. S. engravings are known for their detailed and refined qualities, influencing later artists.
4. Context in Europe: The piece highlights the broader European context, mentioning that the Master E. S. was influenced by the art and culture of the time, particularly in the Netherlands.
5. Schongauer and the Gothic Genius: The article touches on Martin Schongauer, a master engraver from the 15th century, and his influence on Gothic art, comparing it to the style of Master E. S.
6. The Importance of the Master’s Work: It explains that despite being overshadowed by contemporaries like Albrecht Dürer, Master E. S.’s engravings are still recognized for their technical prowess and artistic merit.

Additionally, there is a sidebar on the increase of fine arts students at Radcliffe College, detailing the growth and activities of their art department, including courses, exhibitions, and the involvement of faculty and students. This sidebar includes a list of students and their academic interests.

The layout and content indicate a scholarly and educational focus on the history and development of fine art in Europe during the Renaissance period.

The image is a scanned page from an old newspaper or magazine, featuring two main articles:

1. Early German Engravers Not Known by Name:

   • Subheading: "Prof. Sachs Traces Work of Men Who Signed Prints With Initials Only Small Part Saved"
   • Main Content:
     • The article discusses the work of early German engravers, particularly the anonymous craftsmen who signed their works with initials. It highlights the contribution of Master E. S. to the art of engraving and his influence on later artists.
     • It notes that while the names of these engravers are not known, their work has been meticulously studied by Professor Sachs.
     • The text mentions the importance of the work of the Master E. S. and how it represents a significant step forward in the art of engraving.
     • The article also touches on the history of engraving in Germany and Switzerland, with a focus on the work of Martin Schongauer, a significant figure in the history of engraving.
     • It includes a discussion on the Gothic genre and the influence of Schongauer's work on the development of engraving techniques.
     • The article references specific reproductions and collections, such as those at the Metropolitan Museum, and the work of Dr. Sachs and other experts.

2. Students in Fine Arts Increase at Radcliffe:

   • Subheading: "Carnegie Fellows Among Twenty-Six"
   • Main Content:
     • This article discusses the increase in the number of students in the fine arts program at Radcliffe College.
     • It highlights the enrollment of twenty-six graduate students, including six Carnegie Fellows.
     • The article mentions notable faculty and students, such as Professor Sachs, who is involved in the study of fine arts.
     • It also includes a brief mention of the Museum of Fine Arts in Boston, where students have access to significant collections for study.
     • The article touches on the curriculum and the increasing popularity of fine arts studies among women.

The articles together provide a historical and educational perspective on the evolution of engraving and the growing interest in fine arts education for women at Radcliffe College.

The image shows a newspaper clipping from the 1930s, specifically an article from the "Evening Public Ledger" dated December 12, 1937. The main article, titled "Early German Engravers Not Known by Name," discusses the work of early German engravers who signed their prints with initials rather than full names.

Key points in the article include:

1. Prof. Sachs Traces Work of Men Who Signed Prints With Initials:

   • Professor Sachs has been researching early German engravers whose identities are often only known by their initials on prints.

2. Master E.S. Gave the Arts Its First Definite Step Forward:

   • The article highlights the contributions of an engraver known as Master E.S., who significantly advanced the art of engraving. The works of Master E.S. were pivotal in the development of printmaking.

3. Historical Context and Contributions:

   • The article details the early history of printmaking in Germany, starting from the late 14th century. It mentions how early prints were unsigned and how the practice of signing with initials began.
   • Master E.S. is credited with introducing a more refined and detailed style of engraving, influencing future artists.

4. Influence and Legacy:

   • The influence of these early engravers extended to other regions, including Switzerland and the broader European art scene.
   • The article emphasizes the importance of these early works in the history of art and printmaking, noting that without these foundational contributions, later artists like Albrecht Dürer might not have achieved their fame.

5. Definite Step Forward:

   • The work of Master E.S. is described as a definitive step forward in the art of engraving, setting the stage for future advancements.

Additionally, there is a smaller section on the right side of the clipping discussing the increase in fine arts students at Radcliffe, with a notable rise in the number of students enrolling in fine arts courses. This part mentions various activities and interests of the students in the arts.

Overall, the article provides a historical overview and appreciation of early German engravers and their impact on the development of printmaking.

The image is a newspaper clipping from the New York Times, dated March 15, 1937, titled "Early German Engravers Not Known by Name." The article discusses the work of Master E. S., who is believed to have been a significant figure in the development of early German engraving techniques.

Key points of the article include:

1. Master E. S.'s Contribution:

   • Master E. S. gave the art of engraving its first definite step forward.
   • He was instrumental in making engraving a recognized art form in Germany during the 15th century.
   • His work was highly influential, particularly in the Netherlands and Switzerland.

2. Discovery by Professor Sachs:

   • Professor Sachs, from Harvard University, has traced the work of Master E. S. and other engravers who signed their prints with initials.
   • Sachs has identified Master E. S. as the creator of numerous engravings that were previously anonymous.

3. Engraving Techniques:

   • The article explains that the technique of engraving was initially a high art practiced by only a few, requiring precise tools and skill.
   • Master E. S. is credited with developing techniques that allowed for more widespread and accessible engraving.

4. Influence and Legacy:

   • Master E. S.'s work is said to have influenced later engravers and artists, including Albrecht Dürer.
   • His engravings are noted for their clarity, detail, and artistic merit, setting a new standard for the medium.

5. Exhibition and Collection:

   • The article mentions that Sachs has been working to consolidate a collection of these early engravings, which are now housed in various museums.
   • The Metropolitan Museum of Art and other institutions are highlighted as holding significant collections of these early works.

6. Educational Impact:

   • Sachs's research has illuminated the history of engraving, providing insight into the development of this art form.
   • The article suggests that the rediscovery of Master E. S. and his contemporaries has enriched the understanding of early German and European art history.

The article underscores the importance of Sachs's research in uncovering the identities and contributions of early engravers, thereby adding depth to the historical narrative of printmaking and engraving.

The image shows a page from an old newspaper or magazine, which appears to be yellowed with age. The content of the page is divided into several articles and sections. Here is a summary of the visible content:

1. Early German Engravers Not Known by Name:

   • This article discusses the anonymity of early German engravers whose works are known but not their names. It mentions that only a small part of their work has been saved.

2. Prof. Sachs Traces Work of Men Who Signed Prints With Initials:

   • This section highlights the work of Professor Sachs, who traced the works of engravers who signed their prints with initials. The article mentions that only a small portion of their work has been preserved.

3. Master E. S. Gave the Art Its First Definite Step Forward:

   • This article discusses Master E. S., who is credited with giving the art of engraving its first definite step forward. It mentions that his work was influential in the development of the art form.

4. Gothic Genius:

   • This section discusses the genius of Martin Schongauer, a prominent engraver. It highlights his contributions to the art of engraving and his influence on subsequent artists.

5. Students in Fine Arts Increase at Radcliffe:

   • This article reports on the increase in the number of students enrolling in fine arts at Radcliffe College. It mentions that six women have enrolled in the College Carnegie Fellowships.

6. Those Who Followed the Master:

   • This section discusses the artists who followed in the footsteps of Master E. S., highlighting their contributions to the art of engraving.

The text is densely packed and written in a formal, academic style, typical of historical or scholarly articles. The layout is traditional, with columns of text and clear headings for each section. The paper appears to be from the early to mid-20th century, judging by the style of the typeface and the aging of the paper.

This image is of a book or a newspaper spread open, showing two pages mainly filled with text. The article on the left page is headed "Early German Engravers Not Known by Name," and contains subheadings such as "Prof. Sachs Traces Work of Men Who Signed Prints With Initials Only," and "Master E. S. Gave the Art Its First Definite Step Forward." This suggests it is an academic or historical article about early German art.

On the right page, there is an article with the heading "STUDENTS IN FINE ARTS INCREASE AT RADCLIFFE," which seems to discuss the rising interest and involvement in fine arts education at Radcliffe, indicating that this might be a historical or college-related publication. The text overall is dense and there is very little whitespace.

Along the binding of the book or newspaper, you can see the book's spine and the yellowing of the pages which suggests age or frequent handling. The layout, font, and paper quality are indicative of printed material from the late 19th to mid-20th century.

The image depicts an open book with dense, printed text on its pages. The book appears to be an academic or historical publication, focusing on the topic of early German engravers. The visible text includes headings and subheadings, such as:

• "Early German Engravers Not Known by Name"
• "Prof. Sachs Traces Work of Men Who Signed Prints With Initials"
• "Only Small Part Saved"
• "Master E. S. Gave the Art Its First Definitive Step Forward"

The content discusses the work of early German engravers, their contributions to the art form, and the challenges in identifying them due to limited documentation. The text references specific individuals, such as Master E. S., and explores their influence on engraving techniques and styles. There are also mentions of institutions, such as the Metropolitan Museum, and notable figures like Martin Schongauer.

The layout is typical of scholarly publications, with justified text, dense paragraphs, and structured headings. The book seems well-preserved, with visible page edges and a clean, readable print. The overall aesthetic suggests a historical or academic context, likely from the early 20th century, given the style of typography and the subject matter.

The image is of a newspaper clipping featuring a collection of articles and advertisements. The clipping is placed in a transparent folder, allowing the text and layout of the page to be visible. The page is divided into sections, with the main headline at the top reading "Early German Engravers Not Known by Name." The article discusses the anonymity of early German engravers and the difficulty in attributing works to specific artists. Other articles on the page cover topics such as art exhibitions, art education, and the careers of specific artists. The bottom of the page contains advertisements for various products and services, including a department store and a university.

The image depicts a page from an old newspaper or magazine, likely from the early to mid-20th century, based on the style and typography. The page is divided into multiple columns, each containing different articles. The text is printed in a classic serif font, and the paper appears aged, with a yellowish tint and visible creases.

The top left corner features a headline that reads, "Early German Engravers Not Known by Name." This article seems to discuss the anonymity of early German engravers and their contributions to the art of engraving. Below this headline, there are several subheadings and paragraphs that delve into the details of these engravers' work and their historical significance.

The middle column contains an article titled "Prof. Sachs Traces Work of Men Who Signed Prints With Initials." This piece likely explores the research and findings of Professor Sachs regarding engravers who used initials instead of full names on their prints. The article discusses the importance of these engravers and their impact on the art world.

The right column has a headline that reads "Students in Fine Arts Increase at Radcliffe College." This article reports on the growing number of students enrolled in fine arts programs at Radcliffe College, highlighting the increasing interest in the arts among students.

At the bottom of the page, there are smaller articles and advertisements. One notable advertisement promotes "Gothic Grinders," which seems to be a product or service related to Gothic art or architecture. Another advertisement features a photograph of a person, possibly an artist or a model, with accompanying text that is partially obscured.

Overall, the page reflects a time when print media was the primary source of news and information, and it showcases the diverse range of topics covered in such publications, from art history to educational trends.