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Seven Virtues

Print
1530 (made)
Artist/Maker

Like his contemporary, Albrecht Dürer, Lucas van Leyden was internationally recognised within his lifetime and beyond. Giorgio Vasari, writing in 1568, praised Leyden's fine engraving style and his use of perspective. Fine quality early impressions of his prints are rare. Copper printing plates are capable of producing only one or two hundred fine impressions before the plate starts to wear down, especially with a fine line engraving style as Leyden's. Such was Leyden's reputation and his prints so sought by collectors that his original printing plates were kept and impressions taken from them long after his death, resulting in a larger number of surviving poor and worn impressions than fine ones. Numerous copies were also made from his originals, which satisfied demand when originals were not available or affordable and for collectors of images interested more in subject matter.


Object details

Categories
Object type
Titles
  • Seven Virtues (series title)
  • Vortitudo (assigned by artist)
  • Fortitude (generic title)
Materials and techniques
Engraving in ink on paper
Brief description
Engraving, Fortitude, from the Seven Virtues, Lucas Hugensz van Leyden (called Lucas Jacobsz).
Physical description
Fortitude sits on a ledge next to a ruined column, holding a column capital in her left hand. An angel holds a halo over her head. Behind them is a shell-edged drape.
Dimensions
  • Sheet height: 18cm
  • Sheet width: 11.9cm
  • Platemark height: 17cm
  • Platemark width: 16.4cm
Style
Marks and inscriptions
L VORTITVDO (Inscribed on plate bottom right corner)
Subjects depicted
Summary
Like his contemporary, Albrecht Dürer, Lucas van Leyden was internationally recognised within his lifetime and beyond. Giorgio Vasari, writing in 1568, praised Leyden's fine engraving style and his use of perspective. Fine quality early impressions of his prints are rare. Copper printing plates are capable of producing only one or two hundred fine impressions before the plate starts to wear down, especially with a fine line engraving style as Leyden's. Such was Leyden's reputation and his prints so sought by collectors that his original printing plates were kept and impressions taken from them long after his death, resulting in a larger number of surviving poor and worn impressions than fine ones. Numerous copies were also made from his originals, which satisfied demand when originals were not available or affordable and for collectors of images interested more in subject matter.
Bibliographic references
  • Bartsch, Adam von. Le Peintre Graveur. Leipzig, J.A. Barth, 1854-1876.
  • The New Hollstein: Dutch & Flemish etchings, engravings and woodcuts, 1450-1700. Roosendaal. Koninklijke Van Poll in cooperation with the Rijksprentenkabinet, Rijksmuseum, Amsterdam, 1993-
  • Cornelis, Bart and Jan Piet Filedt Kok. The taste for Lucas van Leyden prints. In: Simiolus - Netherlands Quarterly for the History of Art. 26: 1/2 (1998).
Other number
Bartsch 132
Collection
Accession number
24393:4

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Record createdDecember 22, 2008
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