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German Renaissance typographic ornaments, (1898). Creator: Unknown
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German Renaissance typographic ornaments, (1898). Creator: Unknown
German Renaissance typographic ornaments, (1898). Fig 1: Title-frame (1519) probably by Hieronymus Hopfer. Fig 2: Initial by A. Durer. Fig 3: Frieze (1539) by A. Aldengrever [Heinrich Aldegrever?]. Fig 4: Initial from a dance-of-death alphabet by Hans Holbein. Fig 5: Marginal decoration from the prayer-book of the Emperor Charles V by A. Durer. Fig 6: Frieze (1528) by H. S. Beham. Fig 7: Initial (1518) by an unknown master. Fig 8: Initial by Paul Frank. Fig 9: Initial by Jost Aman [Jost Amman?]. Fig 10: Initial (1527-1532) from Hans Holbeins childrens alphabet. Fig 11: Initial by an unknown master. Fig 12: Frieze by J. Binck. Fig 13: Initial by P. Frank...The custom of decorating printings with artistic initials, marginal borders etc. is nearly as old as typography itself. In the beginning, Gothic forms, of course, were still prevailing; but the transition from the 15th to the 16th century marked a new era for this branch of art. Of marked and decisive importance was particularly the activity of the greatest German artists of that period, viz of Holbein, Durer and others; they were continually creating new ornamental alphabets.... Plate 75 from " The Historic Styles of Ornament" translated from the German of H. Dolmetsch. [B.T. Batford, London, 1898]
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Media ID 19780347
© The Print Collector/Heritage Images
A Durer Albert Durer Alberto Durero Albrecht Albrecht Durer Aldegrever Alphabet B T Batsford Batsford Bt Batsford Dolmetsch Durer Foliage H Dolmetsch Hans Holbein Hans Holbein The Younger Heinrich Heinrich Aldegrever Heinrich Dolmetsch Hieronymus Historic Styles Of Ornament Hopfer Max Seeger Neo Classical Neo Classicism Neoclassical Ornament Ornate Seeger Spiral Stylised Typography Flowered Graphic Design Hieronymus Hopfer Neoclassicism
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EDITORS COMMENTS
This print showcases a collection of German Renaissance typographic ornaments, dating back to 1898. The creator of these intricate designs remains unknown, but their beauty and craftsmanship speak volumes. The image features twelve different figures, each representing a unique style and period within the German Renaissance era. From title-frames to initials and friezes, these ornamental alphabets were used to embellish printed materials such as prayer books and children's alphabets. During this time, typography was undergoing a significant transformation from Gothic forms to more elaborate and artistic designs. The influence of renowned artists like Hieronymus Hopfer, Albrecht Durer, Hans Holbein, Heinrich Aldegrever, H. S. Beham, Paul Frank, Jost Amman, J. Binck can be seen in the various elements displayed in the print. The custom of adorning prints with decorative initials and marginal borders has been an integral part of printing since its inception. This particular collection highlights the remarkable evolution that occurred during the transition from the 15th to the 16th century. Plate 75 from "The Historic Styles of Ornament" by H. Dolmetsch provides us with a glimpse into this fascinating period in art history. As we admire these exquisite typographic ornaments today, we are reminded of the immense talent and creativity that flourished during this golden age of German Renaissance design.
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