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Market Square in Nuremberg with Emperor Leopold's Entry in 1658

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

1886



1846 apprenticeship as a wood engraver and 1847-53 attendance at the art school in Cologne.


Wood engraving after a painting by Paul Ritter from 1885.

 Client of the painting: factory owner Philipp Krafft from Nuremberg (tobacco factory Theresienstr.7).

______________________________

The architectural backdrop of the painting is the Frauenkirche (Church of Our Lady) and, on the north side of the market square, Engelhard'sche Haus with the frescoes that were still there at the time. Above the aforementioned building, the towers of the town hall rise in the background, on the left edge of the picture the "Schöne Brunnen" can be seen and behind it the mighty towers of St. Sebald. On the market square stands Emperor Leopold I, who has just been mounted. Under a canopy carried by Nuremberg patricians, to look at the ornate clock of the Frauenkirche. The crowds are held back by the city servants dressed in white and red. Among the spectators, the artist has portrayed himself. In the right-hand corner of the picture, near the stalls of the Frauenkirche, the standing citizen is recognisable as the patron of the painting and his wife.

quoted from:

Paul Ritter and the Cultural-Historical Cityscape of Nuremberg in the Late 19th Century, p. 345.


 Silke Colditz-Heusl

Location: private

Design: Ritter, Johann Paul d.Ä.

Realization: Brend’amour, Richard

Material: Wood engraving

scan 2020, Theo Noll

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

1886



1846 apprenticeship as a wood engraver and 1847-53 attendance at the art school in Cologne.


Wood engraving after a painting by Paul Ritter from 1885.

 Client of the painting: factory owner Philipp Krafft from Nuremberg (tobacco factory Theresienstr.7).

______________________________

The architectural backdrop of the painting is the Frauenkirche (Church of Our Lady) and, on the north side of the market square, Engelhard'sche Haus with the frescoes that were still there at the time. Above the aforementioned building, the towers of the town hall rise in the background, on the left edge of the picture the "Schöne Brunnen" can be seen and behind it the mighty towers of St. Sebald. On the market square stands Emperor Leopold I, who has just been mounted. Under a canopy carried by Nuremberg patricians, to look at the ornate clock of the Frauenkirche. The crowds are held back by the city servants dressed in white and red. Among the spectators, the artist has portrayed himself. In the right-hand corner of the picture, near the stalls of the Frauenkirche, the standing citizen is recognisable as the patron of the painting and his wife.

quoted from:

Paul Ritter and the Cultural-Historical Cityscape of Nuremberg in the Late 19th Century, p. 345.


 Silke Colditz-Heusl

Location: private

Design: Ritter, Johann Paul d.Ä.

Realization: Brend’amour, Richard

Material: Wood engraving

photo 2020, Theo Noll

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

1886



1846 apprenticeship as a wood engraver and 1847-53 attendance at the art school in Cologne.


Wood engraving after a painting by Paul Ritter from 1885.

 Client of the painting: factory owner Philipp Krafft from Nuremberg (tobacco factory Theresienstr.7).

______________________________

The architectural backdrop of the painting is the Frauenkirche (Church of Our Lady) and, on the north side of the market square, Engelhard'sche Haus with the frescoes that were still there at the time. Above the aforementioned building, the towers of the town hall rise in the background, on the left edge of the picture the "Schöne Brunnen" can be seen and behind it the mighty towers of St. Sebald. On the market square stands Emperor Leopold I, who has just been mounted. Under a canopy carried by Nuremberg patricians, to look at the ornate clock of the Frauenkirche. The crowds are held back by the city servants dressed in white and red. Among the spectators, the artist has portrayed himself. In the right-hand corner of the picture, near the stalls of the Frauenkirche, the standing citizen is recognisable as the patron of the painting and his wife.

quoted from:

Paul Ritter and the Cultural-Historical Cityscape of Nuremberg in the Late 19th Century, p. 345.


 Silke Colditz-Heusl

Location: private

Design: Ritter, Johann Paul d.Ä.

Realization: Brend’amour, Richard

Material: Wood engraving

photo 2020, Theo Noll

Market Square in Nuremberg with Emperor Leopold's Entry in 1658 private

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

1886

private



1846 apprenticeship as a wood engraver and 1847-53 attendance at the art school in Cologne.


Wood engraving after a painting by Paul Ritter from 1885.

 Client of the painting: factory owner Philipp Krafft from Nuremberg (tobacco factory Theresienstr.7).

______________________________

The architectural backdrop of the painting is the Frauenkirche (Church of Our Lady) and, on the north side of the market square, Engelhard'sche Haus with the frescoes that were still there at the time. Above the aforementioned building, the towers of the town hall rise in the background, on the left edge of the picture the "Schöne Brunnen" can be seen and behind it the mighty towers of St. Sebald. On the market square stands Emperor Leopold I, who has just been mounted. Under a canopy carried by Nuremberg patricians, to look at the ornate clock of the Frauenkirche. The crowds are held back by the city servants dressed in white and red. Among the spectators, the artist has portrayed himself. In the right-hand corner of the picture, near the stalls of the Frauenkirche, the standing citizen is recognisable as the patron of the painting and his wife.

quoted from:

Paul Ritter and the Cultural-Historical Cityscape of Nuremberg in the Late 19th Century, p. 345.


 Silke Colditz-Heusl

Location: privat

Design: Ritter, Johann Paul d.Ä.

Realization: Brend’amour, Richard

Material: Wood engraving

photo 2020, Theo Noll

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

1886



1846 apprenticeship as a wood engraver and 1847-53 attendance at the art school in Cologne.


Wood engraving after a painting by Paul Ritter from 1885.

 Client of the painting: factory owner Philipp Krafft from Nuremberg (tobacco factory Theresienstr.7).

______________________________

The architectural backdrop of the painting is the Frauenkirche (Church of Our Lady) and, on the north side of the market square, Engelhard'sche Haus with the frescoes that were still there at the time. Above the aforementioned building, the towers of the town hall rise in the background, on the left edge of the picture the "Schöne Brunnen" can be seen and behind it the mighty towers of St. Sebald. On the market square stands Emperor Leopold I, who has just been mounted. Under a canopy carried by Nuremberg patricians, to look at the ornate clock of the Frauenkirche. The crowds are held back by the city servants dressed in white and red. Among the spectators, the artist has portrayed himself. In the right-hand corner of the picture, near the stalls of the Frauenkirche, the standing citizen is recognisable as the patron of the painting and his wife.

quoted from:

Paul Ritter and the Cultural-Historical Cityscape of Nuremberg in the Late 19th Century, p. 345.


 Silke Colditz-Heusl

Location: private

Design: Ritter, Johann Paul d.Ä.

Realization: Brend’amour, Richard

Material: Wood engraving

photo 2020, Theo Noll

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

1886



1846 apprenticeship as a wood engraver and 1847-53 attendance at the art school in Cologne.


Wood engraving after a painting by Paul Ritter from 1885.

 Client of the painting: factory owner Philipp Krafft from Nuremberg (tobacco factory Theresienstr.7).

______________________________

The architectural backdrop of the painting is the Frauenkirche (Church of Our Lady) and, on the north side of the market square, Engelhard'sche Haus with the frescoes that were still there at the time. Above the aforementioned building, the towers of the town hall rise in the background, on the left edge of the picture the "Schöne Brunnen" can be seen and behind it the mighty towers of St. Sebald. On the market square stands Emperor Leopold I, who has just been mounted. Under a canopy carried by Nuremberg patricians, to look at the ornate clock of the Frauenkirche. The crowds are held back by the city servants dressed in white and red. Among the spectators, the artist has portrayed himself. In the right-hand corner of the picture, near the stalls of the Frauenkirche, the standing citizen is recognisable as the patron of the painting and his wife.

quoted from:

Paul Ritter and the Cultural-Historical Cityscape of Nuremberg in the Late 19th Century, p. 345.


 Silke Colditz-Heusl

Location: private

Design: Ritter, Johann Paul d.Ä.

Realization: Brend’amour, Richard

Material: Wood engraving

photo 2020, Theo Noll

Market Square in Nuremberg with Emperor Leopold's Entry in 1658 Paul Ritter with "flowing hair" in the foreground of the picture

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

1886

Paul Ritter with "flowing hair" in the foreground of the picture



1846 apprenticeship as a wood engraver and 1847-53 attendance at the art school in Cologne.


Wood engraving after a painting by Paul Ritter from 1885.

 Client of the painting: factory owner Philipp Krafft from Nuremberg (tobacco factory Theresienstr.7).

______________________________

The architectural backdrop of the painting is the Frauenkirche (Church of Our Lady) and, on the north side of the market square, Engelhard'sche Haus with the frescoes that were still there at the time. Above the aforementioned building, the towers of the town hall rise in the background, on the left edge of the picture the "Schöne Brunnen" can be seen and behind it the mighty towers of St. Sebald. On the market square stands Emperor Leopold I, who has just been mounted. Under a canopy carried by Nuremberg patricians, to look at the ornate clock of the Frauenkirche. The crowds are held back by the city servants dressed in white and red. Among the spectators, the artist has portrayed himself. In the right-hand corner of the picture, near the stalls of the Frauenkirche, the standing citizen is recognisable as the patron of the painting and his wife.

quoted from:

Paul Ritter and the Cultural-Historical Cityscape of Nuremberg in the Late 19th Century, p. 345.


 Silke Colditz-Heusl

Location: private

Design: Ritter, Johann Paul d.Ä.

Realization: Brend’amour, Richard

Material: Wood engraving

photo 2020, Theo Noll

Market Square in Nuremberg with Emperor Leopold's Entry in 1658 The owner of the painting, Philipp Krafft and his wife / below the signature of Richard Brend'amour's Xylographische Anstalt.

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

1886

The owner of the painting, Philipp Krafft and his wife / below the signature of Richard Brend'amour's Xylographische Anstalt.



1846 apprenticeship as a wood engraver and 1847-53 attendance at the art school in Cologne.


Wood engraving after a painting by Paul Ritter from 1885.

 Client of the painting: factory owner Philipp Krafft from Nuremberg (tobacco factory Theresienstr.7).

______________________________

The architectural backdrop of the painting is the Frauenkirche (Church of Our Lady) and, on the north side of the market square, Engelhard'sche Haus with the frescoes that were still there at the time. Above the aforementioned building, the towers of the town hall rise in the background, on the left edge of the picture the "Schöne Brunnen" can be seen and behind it the mighty towers of St. Sebald. On the market square stands Emperor Leopold I, who has just been mounted. Under a canopy carried by Nuremberg patricians, to look at the ornate clock of the Frauenkirche. The crowds are held back by the city servants dressed in white and red. Among the spectators, the artist has portrayed himself. In the right-hand corner of the picture, near the stalls of the Frauenkirche, the standing citizen is recognisable as the patron of the painting and his wife.

quoted from:

Paul Ritter and the Cultural-Historical Cityscape of Nuremberg in the Late 19th Century, p. 345.


 Silke Colditz-Heusl

Location: private

Design: Ritter, Johann Paul d.Ä.

Realization: Brend’amour, Richard

Material: Wood engraving

photo 2020, Theo Noll

Market Square in Nuremberg with Emperor Leopold's Entry in 1658 Lower left corner of the picture with the signature of Paul Ritter

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

1886

Lower left corner of the picture with the signature of Paul Ritter



1846 apprenticeship as a wood engraver and 1847-53 attendance at the art school in Cologne.


Wood engraving after a painting by Paul Ritter from 1885.

 Client of the painting: factory owner Philipp Krafft from Nuremberg (tobacco factory Theresienstr.7).

______________________________

The architectural backdrop of the painting is the Frauenkirche (Church of Our Lady) and, on the north side of the market square, Engelhard'sche Haus with the frescoes that were still there at the time. Above the aforementioned building, the towers of the town hall rise in the background, on the left edge of the picture the "Schöne Brunnen" can be seen and behind it the mighty towers of St. Sebald. On the market square stands Emperor Leopold I, who has just been mounted. Under a canopy carried by Nuremberg patricians, to look at the ornate clock of the Frauenkirche. The crowds are held back by the city servants dressed in white and red. Among the spectators, the artist has portrayed himself. In the right-hand corner of the picture, near the stalls of the Frauenkirche, the standing citizen is recognisable as the patron of the painting and his wife.

quoted from:

Paul Ritter and the Cultural-Historical Cityscape of Nuremberg in the Late 19th Century, p. 345.


 Silke Colditz-Heusl

Location: private

Design: Ritter, Johann Paul d.Ä.

Realization: Brend’amour, Richard

Material: Wood engraving

photo 2020, Theo Noll

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

1886



1846 apprenticeship as a wood engraver and 1847-53 attendance at the art school in Cologne.


Wood engraving after a painting by Paul Ritter from 1885.

 Client of the painting: factory owner Philipp Krafft from Nuremberg (tobacco factory Theresienstr.7).

______________________________

The architectural backdrop of the painting is the Frauenkirche (Church of Our Lady) and, on the north side of the market square, Engelhard'sche Haus with the frescoes that were still there at the time. Above the aforementioned building, the towers of the town hall rise in the background, on the left edge of the picture the "Schöne Brunnen" can be seen and behind it the mighty towers of St. Sebald. On the market square stands Emperor Leopold I, who has just been mounted. Under a canopy carried by Nuremberg patricians, to look at the ornate clock of the Frauenkirche. The crowds are held back by the city servants dressed in white and red. Among the spectators, the artist has portrayed himself. In the right-hand corner of the picture, near the stalls of the Frauenkirche, the standing citizen is recognisable as the patron of the painting and his wife.

quoted from:

Paul Ritter and the Cultural-Historical Cityscape of Nuremberg in the Late 19th Century, p. 345.


 Silke Colditz-Heusl

Location: private

Design: Ritter, Johann Paul d.Ä.

Realization: Brend’amour, Richard

Material: Wood engraving

photo 2020, Theo Noll

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

1886



1846 apprenticeship as a wood engraver and 1847-53 attendance at the art school in Cologne.


Wood engraving after a painting by Paul Ritter from 1885.

 Client of the painting: factory owner Philipp Krafft from Nuremberg (tobacco factory Theresienstr.7).

______________________________

The architectural backdrop of the painting is the Frauenkirche (Church of Our Lady) and, on the north side of the market square, Engelhard'sche Haus with the frescoes that were still there at the time. Above the aforementioned building, the towers of the town hall rise in the background, on the left edge of the picture the "Schöne Brunnen" can be seen and behind it the mighty towers of St. Sebald. On the market square stands Emperor Leopold I, who has just been mounted. Under a canopy carried by Nuremberg patricians, to look at the ornate clock of the Frauenkirche. The crowds are held back by the city servants dressed in white and red. Among the spectators, the artist has portrayed himself. In the right-hand corner of the picture, near the stalls of the Frauenkirche, the standing citizen is recognisable as the patron of the painting and his wife.

quoted from:

Paul Ritter and the Cultural-Historical Cityscape of Nuremberg in the Late 19th Century, p. 345.


 Silke Colditz-Heusl

Location: private

Design: Ritter, Johann Paul d.Ä.

Realization: Brend’amour, Richard

Material: Wood engraving

photo 2020, Theo Noll

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

1886



1846 apprenticeship as a wood engraver and 1847-53 attendance at the art school in Cologne.


Wood engraving after a painting by Paul Ritter from 1885.

 Client of the painting: factory owner Philipp Krafft from Nuremberg (tobacco factory Theresienstr.7).

______________________________

The architectural backdrop of the painting is the Frauenkirche (Church of Our Lady) and, on the north side of the market square, Engelhard'sche Haus with the frescoes that were still there at the time. Above the aforementioned building, the towers of the town hall rise in the background, on the left edge of the picture the "Schöne Brunnen" can be seen and behind it the mighty towers of St. Sebald. On the market square stands Emperor Leopold I, who has just been mounted. Under a canopy carried by Nuremberg patricians, to look at the ornate clock of the Frauenkirche. The crowds are held back by the city servants dressed in white and red. Among the spectators, the artist has portrayed himself. In the right-hand corner of the picture, near the stalls of the Frauenkirche, the standing citizen is recognisable as the patron of the painting and his wife.

quoted from:

Paul Ritter and the Cultural-Historical Cityscape of Nuremberg in the Late 19th Century, p. 345.


 Silke Colditz-Heusl

Location: private

Design: Ritter, Johann Paul d.Ä.

Realization: Brend’amour, Richard

Material: Wood engraving

photo 2020, Theo Noll

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

1886



1846 apprenticeship as a wood engraver and 1847-53 attendance at the art school in Cologne.


Wood engraving after a painting by Paul Ritter from 1885.

 Client of the painting: factory owner Philipp Krafft from Nuremberg (tobacco factory Theresienstr.7).

______________________________

The architectural backdrop of the painting is the Frauenkirche (Church of Our Lady) and, on the north side of the market square, Engelhard'sche Haus with the frescoes that were still there at the time. Above the aforementioned building, the towers of the town hall rise in the background, on the left edge of the picture the "Schöne Brunnen" can be seen and behind it the mighty towers of St. Sebald. On the market square stands Emperor Leopold I, who has just been mounted. Under a canopy carried by Nuremberg patricians, to look at the ornate clock of the Frauenkirche. The crowds are held back by the city servants dressed in white and red. Among the spectators, the artist has portrayed himself. In the right-hand corner of the picture, near the stalls of the Frauenkirche, the standing citizen is recognisable as the patron of the painting and his wife.

quoted from:

Paul Ritter and the Cultural-Historical Cityscape of Nuremberg in the Late 19th Century, p. 345.


 Silke Colditz-Heusl

Location: private

Design: Ritter, Johann Paul d.Ä.

Realization: Brend’amour, Richard

Material: Wood engraving

photo 2020, Theo Noll

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

1886



1846 apprenticeship as a wood engraver and 1847-53 attendance at the art school in Cologne.


Wood engraving after a painting by Paul Ritter from 1885.

 Client of the painting: factory owner Philipp Krafft from Nuremberg (tobacco factory Theresienstr.7).

______________________________

The architectural backdrop of the painting is the Frauenkirche (Church of Our Lady) and, on the north side of the market square, Engelhard'sche Haus with the frescoes that were still there at the time. Above the aforementioned building, the towers of the town hall rise in the background, on the left edge of the picture the "Schöne Brunnen" can be seen and behind it the mighty towers of St. Sebald. On the market square stands Emperor Leopold I, who has just been mounted. Under a canopy carried by Nuremberg patricians, to look at the ornate clock of the Frauenkirche. The crowds are held back by the city servants dressed in white and red. Among the spectators, the artist has portrayed himself. In the right-hand corner of the picture, near the stalls of the Frauenkirche, the standing citizen is recognisable as the patron of the painting and his wife.

quoted from:

Paul Ritter and the Cultural-Historical Cityscape of Nuremberg in the Late 19th Century, p. 345.


 Silke Colditz-Heusl

Location: private

Design: Ritter, Johann Paul d.Ä.

Realization: Brend’amour, Richard

Material: Wood engraving

photo 2020, Theo Noll

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

1886



1846 apprenticeship as a wood engraver and 1847-53 attendance at the art school in Cologne.


Wood engraving after a painting by Paul Ritter from 1885.

 Client of the painting: factory owner Philipp Krafft from Nuremberg (tobacco factory Theresienstr.7).

______________________________

The architectural backdrop of the painting is the Frauenkirche (Church of Our Lady) and, on the north side of the market square, Engelhard'sche Haus with the frescoes that were still there at the time. Above the aforementioned building, the towers of the town hall rise in the background, on the left edge of the picture the "Schöne Brunnen" can be seen and behind it the mighty towers of St. Sebald. On the market square stands Emperor Leopold I, who has just been mounted. Under a canopy carried by Nuremberg patricians, to look at the ornate clock of the Frauenkirche. The crowds are held back by the city servants dressed in white and red. Among the spectators, the artist has portrayed himself. In the right-hand corner of the picture, near the stalls of the Frauenkirche, the standing citizen is recognisable as the patron of the painting and his wife.

quoted from:

Paul Ritter and the Cultural-Historical Cityscape of Nuremberg in the Late 19th Century, p. 345.


 Silke Colditz-Heusl

Location: private

Design: Ritter, Johann Paul d.Ä.

Realization: Brend’amour, Richard

Material: Wood engraving

photo 2020, Theo Noll

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

1886



1846 apprenticeship as a wood engraver and 1847-53 attendance at the art school in Cologne.


Wood engraving after a painting by Paul Ritter from 1885.

 Client of the painting: factory owner Philipp Krafft from Nuremberg (tobacco factory Theresienstr.7).

______________________________

The architectural backdrop of the painting is the Frauenkirche (Church of Our Lady) and, on the north side of the market square, Engelhard'sche Haus with the frescoes that were still there at the time. Above the aforementioned building, the towers of the town hall rise in the background, on the left edge of the picture the "Schöne Brunnen" can be seen and behind it the mighty towers of St. Sebald. On the market square stands Emperor Leopold I, who has just been mounted. Under a canopy carried by Nuremberg patricians, to look at the ornate clock of the Frauenkirche. The crowds are held back by the city servants dressed in white and red. Among the spectators, the artist has portrayed himself. In the right-hand corner of the picture, near the stalls of the Frauenkirche, the standing citizen is recognisable as the patron of the painting and his wife.

quoted from:

Paul Ritter and the Cultural-Historical Cityscape of Nuremberg in the Late 19th Century, p. 345.


 Silke Colditz-Heusl

Location: private

Design: Ritter, Johann Paul d.Ä.

Realization: Brend’amour, Richard

Material: Wood engraving

photo 2020, Theo Noll

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

1886



1846 apprenticeship as a wood engraver and 1847-53 attendance at the art school in Cologne.


Wood engraving after a painting by Paul Ritter from 1885.

 Client of the painting: factory owner Philipp Krafft from Nuremberg (tobacco factory Theresienstr.7).

______________________________

The architectural backdrop of the painting is the Frauenkirche (Church of Our Lady) and, on the north side of the market square, Engelhard'sche Haus with the frescoes that were still there at the time. Above the aforementioned building, the towers of the town hall rise in the background, on the left edge of the picture the "Schöne Brunnen" can be seen and behind it the mighty towers of St. Sebald. On the market square stands Emperor Leopold I, who has just been mounted. Under a canopy carried by Nuremberg patricians, to look at the ornate clock of the Frauenkirche. The crowds are held back by the city servants dressed in white and red. Among the spectators, the artist has portrayed himself. In the right-hand corner of the picture, near the stalls of the Frauenkirche, the standing citizen is recognisable as the patron of the painting and his wife.

quoted from:

Paul Ritter and the Cultural-Historical Cityscape of Nuremberg in the Late 19th Century, p. 345.


 Silke Colditz-Heusl

Location: private

Design: Ritter, Johann Paul d.Ä.

Realization: Brend’amour, Richard

Material: Wood engraving

photo 2020, Theo Noll

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

1886



1846 apprenticeship as a wood engraver and 1847-53 attendance at the art school in Cologne.


Wood engraving after a painting by Paul Ritter from 1885.

 Client of the painting: factory owner Philipp Krafft from Nuremberg (tobacco factory Theresienstr.7).

______________________________

The architectural backdrop of the painting is the Frauenkirche (Church of Our Lady) and, on the north side of the market square, Engelhard'sche Haus with the frescoes that were still there at the time. Above the aforementioned building, the towers of the town hall rise in the background, on the left edge of the picture the "Schöne Brunnen" can be seen and behind it the mighty towers of St. Sebald. On the market square stands Emperor Leopold I, who has just been mounted. Under a canopy carried by Nuremberg patricians, to look at the ornate clock of the Frauenkirche. The crowds are held back by the city servants dressed in white and red. Among the spectators, the artist has portrayed himself. In the right-hand corner of the picture, near the stalls of the Frauenkirche, the standing citizen is recognisable as the patron of the painting and his wife.

quoted from:

Paul Ritter and the Cultural-Historical Cityscape of Nuremberg in the Late 19th Century, p. 345.


 Silke Colditz-Heusl

Location: private

Design: Ritter, Johann Paul d.Ä.

Realization: Brend’amour, Richard

Material: Wood engraving

photo 2020, Theo Noll

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

1886



1846 apprenticeship as a wood engraver and 1847-53 attendance at the art school in Cologne.


Wood engraving after a painting by Paul Ritter from 1885.

 Client of the painting: factory owner Philipp Krafft from Nuremberg (tobacco factory Theresienstr.7).

______________________________

The architectural backdrop of the painting is the Frauenkirche (Church of Our Lady) and, on the north side of the market square, Engelhard'sche Haus with the frescoes that were still there at the time. Above the aforementioned building, the towers of the town hall rise in the background, on the left edge of the picture the "Schöne Brunnen" can be seen and behind it the mighty towers of St. Sebald. On the market square stands Emperor Leopold I, who has just been mounted. Under a canopy carried by Nuremberg patricians, to look at the ornate clock of the Frauenkirche. The crowds are held back by the city servants dressed in white and red. Among the spectators, the artist has portrayed himself. In the right-hand corner of the picture, near the stalls of the Frauenkirche, the standing citizen is recognisable as the patron of the painting and his wife.

quoted from:

Paul Ritter and the Cultural-Historical Cityscape of Nuremberg in the Late 19th Century, p. 345.


 Silke Colditz-Heusl

Location: private

Design: Ritter, Johann Paul d.Ä.

Realization: Brend’amour, Richard

Material: Wood engraving

photo 2020, Theo Noll

Market Square in Nuremberg with Emperor Leopold's Entry in 1658 Description of the wood engraving in the Illustrierte Zeitung 1886

Market Square in Nuremberg with Emperor Leopold's Entry in 1658

1886

Description of the wood engraving in the Illustrierte Zeitung 1886



1846 apprenticeship as a wood engraver and 1847-53 attendance at the art school in Cologne.


Wood engraving after a painting by Paul Ritter from 1885.

 Client of the painting: factory owner Philipp Krafft from Nuremberg (tobacco factory Theresienstr.7).

______________________________

The architectural backdrop of the painting is the Frauenkirche (Church of Our Lady) and, on the north side of the market square, Engelhard'sche Haus with the frescoes that were still there at the time. Above the aforementioned building, the towers of the town hall rise in the background, on the left edge of the picture the "Schöne Brunnen" can be seen and behind it the mighty towers of St. Sebald. On the market square stands Emperor Leopold I, who has just been mounted. Under a canopy carried by Nuremberg patricians, to look at the ornate clock of the Frauenkirche. The crowds are held back by the city servants dressed in white and red. Among the spectators, the artist has portrayed himself. In the right-hand corner of the picture, near the stalls of the Frauenkirche, the standing citizen is recognisable as the patron of the painting and his wife.

quoted from:

Paul Ritter and the Cultural-Historical Cityscape of Nuremberg in the Late 19th Century, p. 345.


 Silke Colditz-Heusl

Location: private

Design: Ritter, Johann Paul d.Ä.

Realization: Brend’amour, Richard

Material: Wood engraving

scan 2020, Theo Noll

Richard
Brend’amour

Further works

Market Square in Nuremberg with Emperor Leopold's Entry in 1658
Market Square in Nuremberg with Emperor Leopold's Entry in 1658

Johann Paul d.Ä.
Ritter

Further works

Sketchbook with views of Streitberg and Neideck / incl. Hallerweiherhaus in Nuremberg
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The Milan Cathedral
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The Beautiful Fountain in Nuremberg in 1632
The Beautiful Fountain in Nuremberg in 1632
Tabernacle in St Lorenz-Church in Nuremberg with bridal procession form the early 17th century
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The transfer of the Imperial Regalia in Nuremberg in 1424 (draft)
The transfer of the Imperial Regalia in Nuremberg in 1424 (draft)
The transfer of the Imperial Regalia in Nuremberg on 22nd March 1424
The transfer of the Imperial Regalia in Nuremberg on 22nd March 1424
The old show at Nuremberg at the time of Gustav Adolf's entry on 21 March 1632.
The old show at Nuremberg at the time of Gustav Adolf's entry on 21 March 1632.
Beautiful fountain and Meyer´s House
Beautiful fountain and Meyer´s House
Market Square in Nuremberg with Emperor Leopold's Entry in 1658
Market Square in Nuremberg with Emperor Leopold's Entry in 1658
East side of the large town hall courtyard in Nuremberg at the time of the peace banquet in 1649
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70th birthday Karl Crämer
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Exodus of Emperor Matthias from Nuremberg 1612
Exodus of Emperor Matthias from Nuremberg 1612
Sebaldus tomb in the east choir
Sebaldus tomb in the east choir
The Market Place in Nuremberg at the time of the tournament of 1496
The Market Place in Nuremberg at the time of the tournament of 1496
The Sacrament House (Tabernacle) by Adam Kraft in the Lorenzkirche
The Sacrament House (Tabernacle) by Adam Kraft in the Lorenzkirche
Farewell scene of Gustav Adolf and his entourage
Farewell scene of Gustav Adolf and his entourage
Paul Ritter in front of the Noris
Paul Ritter in front of the Noris
The small town hall courtyard in Nuremberg
The small town hall courtyard in Nuremberg
The main portal of the Lorenzkirche with bridal procession in the costume of the 30 Years' War
The main portal of the Lorenzkirche with bridal procession in the costume of the 30 Years' War
Paul Ritter grave site
Paul Ritter grave site

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A project of the Förderverein Kulturhistorisches Museum Nürnberg e.V. (Association for the Promotion of the Museum of Cultural History Nuremberg - registered association)

The Förderverein Kulturhistorisches Museum Nürnberg e.V. supports the establishment of a museum of cultural history in Nuremberg. In anticipation of this it presents selected works of Nuremberg art in digital form. The Association will be happy to welcome new members. You will find a declaration of membership on our website.

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