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Krumlovský Mistr dvou stylů: k počátku renesanční knižní vazby v Čechách

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Boldan K.

Umění (Art)

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2022

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tom 70

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nr 1

58-75

EN

This essay is a reaction sixty years on to the study by Bohumil Nuska entitled ‘The Beginnings of Czech Renaissance Bookbinding’ (Umění X, 1962). Nuska showed how the defining location for the migration of Renaissance style to the Czech lands was Krakow, whence several trained bookbinders travelled to Prague around 1520. More recently, Petr Voit examined a group of early Renaissance bindings and concluded that they were the work of the sole workshop of the ‘Czech Rights’ Master Bookbinder, which employed several craftsmen. This workshop had been producing bookbinding from the latter half of the 1510s, the decoration of which, with its dominant composition and detailed work with a blank space, was diametrically different to the production of other Czech workshops, which typically featured a frame composition and a stamp pattern filling the entire central field. Nuska’s claim regarding the Polish contribution to the formation of early Renaissance bookbinding in the Czech lands remains valid. However, in this study I set out to counter the claim that its appearance was sudden and without precedent. The hitherto overlooked workshop of the Master of Two Styles had adopted the Renaissance style more than a decade earlier, and fashion designs featuring predominantly circular elements had allowed it to create the bindings of advanced Viennese workshops according to a related stamping apparatus. On the basis of 21 recorded stamps, I have identified a total of 35 bookbindings made by the Master of Two Styles between 1494 and 1520 (appendices A, B). An analysis of the indications of provenance of these manuscripts and prints clearly shows that they were created in Český Krumlov. To begin with the Master created the decoration using the customary frame concept. However, by the end of the first decade of the 16th century at the latest, he was placing circular features in the middle of the central fields and quarterly sectors in the corners comprising one or more concentric circles. The internal circumference was most often bordered with prints of the characteristic headed stamp

CS

Příspěvek s odstupem šedesáti let reaguje na studii Bohumila Nusky Počátky české renesanční knižní vazby (Umění X, 1962), v níž autor doložil, že určující lokalitou pro migraci renesančního slohu do Čech byl Krakov, odkud kolem roku 1520 přišlo do Prahy asi několik vyučených knihvazačů. Nověji se skupinou raně renesančních vazeb zabýval Petr Voit, který došel k závěru, že jsou prací jediné dílny Mistra práv českých, zaměstnávající více řemeslníků. Ta od sklonku druhého desetiletí 16. století zhotovovala knižní vazby, jejichž výzdoba se od produkce zbylých českých dílen — s typickou rámovou kompozicí a kolkovým desénem vyplňujícím celé střední pole — diametrálně lišila již dominantovou kompozicí a promyšlenou prací s prázdnou plochou. Nuskův závěr o určujícím polském podílu na formování raně renesanční vazby v Čechách zůstává platný, ovšem tvrzení, že její výskyt je náhlý a bez předchozího vývoje, autor příspěvku koriguje. Dosud nepovšimnutá dílna Mistra dvou stylů k renesančnímu slohu nakročila o více než jednu dekádu dříve a módní vzory s kruhovými dominantami jí i podle příbuzného kolkového aparátu prostředkovaly vazby vyspělých vídeňských dílen. Autor na základě 21 podchycených kolků identifikoval celkem 35 knižních vazeb zhotovených Mistrem dvou stylů zhruba v rozmezí let 1494–1520 (přílohy A, B). Analýza provenienčních znaků těchto rukopisů i tisků jednoznačně prokázala, že tvořil v Českém Krumlově. Zprvu výzdobu utvářel v obvyklém rámovém konceptu, ovšem nejpozději na konci prvního desetiletí 16. století umisťoval doprostřed středních polí kruhové dominanty a do rohů čtvrtkruhové výseče, tvořené jednou či několika soustřednými kružnicemi a po vnitřním obvodu lemované nejčastěji otisky charakteristického hlavičkového kolku. Novátorství krumlovského Mistra netkvělo ve změněné morfologii nářadí (velká část kolků podržela osvědčený pozdně gotický ráz), nýbrž v ocenění středové dominanty a jinak (polo)prázdné plochy zrcadla.

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Z dedykacją dla książęcego syna. O renesansowej oprawie królewieckiej Kaspara Anglera w zbiorach Biblioteki Kórnickiej

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Wagner A.

Pamiętnik Biblioteki Kórnickiej

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2020

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tom 37

65-76

EN

The holdings of the Kórnik Library include a small printed book by Walenty Schreck published by the Königsbergian printing house of Johann Daubmann in 1559. At the beginning of the book, there is a hand-written dedication from the author to Duke Albrecht Frederick, a son of Albrecht of Prussia (von Hohenzollern), and a versed poetic work. Since the volume was a gift to a juvenile duke (and indirectly to his father), it was bound in a masterly manner: in covers with rich, almost entirely gilded ornamentation and with gilded edges. The paper offers an analysis of this book-binding work, taking similar objects from Polish collections and information from relevant literature as a point of reference. This allowed a thesis that the object is a representative creation of the leading 16th century Königsbergian book-binder Kaspar Angler, in which he used several of his characteristic decorating tools (such as a roll with figures of cupids and putti, a roll with a cortège of a king and bishop, and 3 medallion plaques with Biblical scenes). Taking into account its high artistry and almost untouched condition, the work seems to be one of the most impressive objects of the 16th century European bookbinding industry in the collection of the Kórnik library. Its high historical value also results from its provenance – it originates from the ducal library in Königsberg.

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Z DEDYKACJĄ DLA KSIĄŻĘCEGO SYNA. O RENESANSOWEJ OPRAWIE KRÓLEWIECKIEJ KASPARA ANGLERA W ZBIORACH BIBLIOTEKI KÓRNICKIEJ

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Wagner A.

Pamiętnik Biblioteki Kórnickiej

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2020

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nr 37

65-76

EN

Th e holdings of the Kórnik Library include a small printed book by Walenty Schreck published by the Königsbergian printing house of Johann Daubmann in 1559. At the beginning of the book, there is a hand-written dedication from the author to Duke Albrecht Frederick, a son of Albrecht of Prussia (von Hohenzollern), and a versed poetic work. Since the volume was a gift to a juvenile duke (and indirectly to his father), it was bound in a masterly manner: in covers with rich, almost entirely gilded ornamentation and with gilded edges. Th e paper off ers an analysis of this book-binding work, taking similar objects from Polish collections and information from relevant literature as a point of reference. Th is allowed a thesis that the object is a representative creation of the leading 16thcentury Königsbergian book-binder Kaspar Angler, in which he used several of his characteristic decorating tools (such as a roll with fi gures of cupids and putti, a roll with a cortège of a king and bishop, and 3 medallion plaques with Biblical scenes). Taking into account its high artistry and almost untouched condition, the work seems to be one of the most impressive objects of the 16thcentury European bookbinding industry in the collection of the Kórnik library. Its high historical value also results from its provenance – it originates from the ducal library in Königsberg.

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Nieznana oprawa dla Jana Łaskiego w Bibliotece Uniwersyteckiej w Poznaniu. Przyczynek do badań nad italianizmem w introligatorstwie polskim XVI wieku

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Wagner A.

Biblioteka

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2012

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nr 16(26)

23-57

EN

The present article begins with an analysis of a binding from the book collection of Jan Łaski (1499–1560) that has been recently discovered. The description aims to focus on characteristic elements indicating the Italian influence in the ornamentation of the covers. The characteristic features of the work are compared against the background of Italian Renaissance bookbinding traditions, in particular with that of the bookbinding workmanship distinguishing and representative of the group of bookbinders from Venice. A particular attention is given to the superexlibris stamped on the front cover with its form copying the characteristic type of the Italian shield of testa di cavallo form. The author then proceeds to discuss the issue of the place of manufacture of the binding and its authorship. The provided comparative analysis with other Italian-influenced bindings manufactured in Cracow in the 1520s shows that its authorship can be attributed to Maciej of Przasnysz, defined in literature as the Master of Cherub Heads. Advanced Renaissance forms in the works of this bookbinder, including the bindings from the Poznań collection, may prove him to be one of the leading European book artisans, who was capable of immediate absorbing the most recent and contemporary trends in bookbinding in Italy.

PL

Punktem wyjścia artykułu jest analiza nowo odkrytej oprawy z księgozbioru Jana Łaskiego (1499–1560). Nacisk położono na charakterystyczne składniki italianizującej dekoracji okładzin. Dzieło zostało osadzone na tle renesansowego introligatorstwa włoskiego, w tym głównie dorobku introligatorów skupionych w środowisku weneckim. Osobną uwagę poświęcono superekslibrisowi w formie naśladującej charakterystyczny typ włoskiej tarczy herbowej testa di cavallo. W dalszej części poruszono kwestię miejsca wykonania oprawy oraz jej autora. Z dokonanej analizy porównawczej z italianizującymi oprawami krakowskimi z lat 20. XVI wieku wynika, że jest to dzieło Macieja z Przasnysza, określanego w literaturze jako Mistrz Główek Anielskich. Zaawansowane formy renesansowe dzieł tego introligatora, w tym oprawy z poznańskich zbiorów, przesądzić muszą o uznaniu go za czołowego europejskiego twórcę, błyskawicznie przyswajającego nawet najświeższe tendencje w introligatorstwie Italii.