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[Beham, Barthel. (1502 - 1540)] Kilian, Lucas. (1579 - 1637). Mors omnia aequat (Death equalises all).
Copper engraving, 1614. 57 x 80 mm (plate mark); 65 x 92 mm (full sheet). Signed 'K.1614' on a tablet at upper left and lettered at upper right: 'MORS OMNIA AEQUAT'.
Reverse copy after Barthel Beham (Pauli 36). Hollstein 559.
A striking print showing three skulls and two thigh bones lying on the floor, a fourth skull piled on top at left, at upper right the strongly foreshortened image of a dead baby boy with an hourglass by his side.
Bartel Beham was born into a family of artists in Nuremberg. Learning his art from his elder brother, and Albrecht Dürer, he was particularly active as an engraver during the 1520s, creating tiny works of magnificent detail, positioning him in the German printmaking school known as the "Little Masters". In 1525, along with his brother and Georg Pencz, the so-called "godless painters", he was banished from Lutheran Nuremberg for asserting his disbelief in baptism, Christ, or transubstantiation. Although later pardoned, he moved to Catholic Munich to work for the Bavarian dukes William IVand Ludwig X. Whilst there, his exceptional talent established him as one of Germany's principal portrait painters, favoured by distinguished patrons such as Emperor Charles V. The present engraving by the German engraver Lucas Kilian is based on his original conception of this image which was conceived in reverse orientation.
[Beham, Barthel. (1502 - 1540)] Kilian, Lucas. (1579 - 1637). Mors omnia aequat (Death equalises all).
Copper engraving, 1614. 57 x 80 mm (plate mark); 65 x 92 mm (full sheet). Signed 'K.1614' on a tablet at upper left and lettered at upper right: 'MORS OMNIA AEQUAT'.
Reverse copy after Barthel Beham (Pauli 36). Hollstein 559.
A striking print showing three skulls and two thigh bones lying on the floor, a fourth skull piled on top at left, at upper right the strongly foreshortened image of a dead baby boy with an hourglass by his side.
Bartel Beham was born into a family of artists in Nuremberg. Learning his art from his elder brother, and Albrecht Dürer, he was particularly active as an engraver during the 1520s, creating tiny works of magnificent detail, positioning him in the German printmaking school known as the "Little Masters". In 1525, along with his brother and Georg Pencz, the so-called "godless painters", he was banished from Lutheran Nuremberg for asserting his disbelief in baptism, Christ, or transubstantiation. Although later pardoned, he moved to Catholic Munich to work for the Bavarian dukes William IVand Ludwig X. Whilst there, his exceptional talent established him as one of Germany's principal portrait painters, favoured by distinguished patrons such as Emperor Charles V. The present engraving by the German engraver Lucas Kilian is based on his original conception of this image which was conceived in reverse orientation.