Coecke brochure

SCENES FROM THE OTTOMAN EMPIRE SCENES FROM THE 16 TH CENTURY OTTOMAN EMPIRE VOLUME 2 PIETER COECKE VAN AELST ÖMER MEHMET ERDEM TÜTÜNCÜ VOLUME | 2 | PIETER COECKE VAN AELST EVERY VOLUME COSTS 200 EURO FOR ORDERING AND INFORMATION CONTACT the publisher via email: sotapublishing@gmail.com VOL 2 Scenes From The 16th. Century Ottoman Empire Vol. 2 16. Yüzyıl Osmanlı İmparatorluğundan Manzaralar 2 Edited by / Yayına hazırlayan: Mehmet Tütüncü & Ömer Erdem SCENES from 1526-1533 COECKE VAN DER AELST Moeurs et Fachons des Moeurs Turcz Manners and Customs of the Turks and Mercenaries and Turks and other 16th Century Turkish prints... ISBN 978-90-6921-054-4 SOTA PUBLICATIONS / SOTA YAYINLARI Series editor: Mehmet Tütüncü CORPUS OF TURKISH ISLAMIC INSCRIPTIONS nr.51 TÜRK İSLAM KİTABELERİ DİZİSİ no:51 VOL. 1 Türkische Manierenbuch From Kassel University Library 40 Ms. Hist. 31 STILL AVAILABLE Scenes From The 16th. Century Ottoman Empire Türkische Manierenbuch From Kassel University Library 40 Ms. Hist. 31 ISBN: 978-90-6921-30-8 Edited by / Yayına hazırlayan: Mehmet Tütüncü & Ömer Erdem with contributions from Magnus Reesel (Frankfurt) & Zeynep Öztürk (Istanbul) and Paul Brood (Groningen) Graphic Designer: Omer Erdem: omerdem@me.com CORPUS OF TURKISH ISLAMIC INSCRIPTIONS nr.29 TÜRK İSLAM KİTABELERİ DİZİSİ no: 29 Universitätsbibliothek Kassel, Landesbibliothek und Murhardsche Bibliothek der Stadt Kassel Library 40 Ms. Hist. 31 SCENES from 1526-1533 SOTA PUBLICATIONS / SOTA YAYINLARI Series editor: Mehmet Tütüncü CORPUS OF TURKISH ISLAMIC INSCRIPTIONS nr.51 TÜRK ÝSLAM KÝTABELERÝ DÝZÝSÝ no:51 Contributions from / Katkýsý bulunanlar: Peter van der Coelen, Johann Haselberg ud Christoph Zell, Peter H. Meurer und Günter Schilder, Nadine Orenstein, Talitha Maria G. Schepers, Alain Servantie Designer: Omer Erdem omerdem@me.com © Copyright 2022, SOTA, Museum Boijmans van Beuningen, Pieter van der Coelen, Peter H. Meurer und Günter Schilder, Nadine Orenstein, Talitha Maria G. Schepers, Alain Servantie, All rights reserved. No part of this book may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying and recording or otherwise, without prior written permission of the publisher and copyright holder. Publisher: SOTA / Research Centre for Tukish and Arabic World Hooglandse Kerksteeg 8a 2312 HR Leiden Netherlands Tel: + 31 23 5292883 Email: sotapublishing@gmail.com or m.tutuncu@gmail.com Web: www.turkistan.org Content INTRODUCTION 1. MERCENARIES AND TURKS FROM 1530 En ARTICLE: Mercenaries and Turks 1530 A Recovered Treasure from the German Renaissance Peter van der Coelen 6 DESCRIPTION and REPRODUCTION: Mercenaries and Turks Collection (Musem Booijmans van Beuningen) 11 2. JAN SWART VAN GRONINGEN SULEYMAND AND HIS CORTEGE De DESCRIPTION and REPRODUCTION Süleyman and His Cortege, 1526 Nl (Rijksmuseum collection) 52 3. PIETER COECKE VAN AELST CUSTOMS AND FASHIONS OF THE TURK(S) En Description CUSTOMS AND FASHIONS OF THE TURK(S) Nl TEXT in FRAME OF THE ENGRAVING / English translation and French Original French Original Text in the Frame of Engraving British Museum REPRODUCTION: REPRODUCTION: Customs and Fashions Reproduction from Rijksmuseum Collection En ARTICLE: Customs And Fashions Of Turks by Nadine M. Orenstein 60 67 72 74-75 76 - 98 99-103 REPRODUCTION : Customs and Fashions Reproduction from Metropolitan Museum 104-125 En ARTICLE: Talitha Maria G. Schepers Süleyman The Court of the Great Turk 126-131 REPRODUCTION: Description de la court du Grand Turc Solimans faisant son sejour en Constantinople, avec la maniere des vestements de ceux de sa suite Museum Plantin-Moretus 122-131 Tr ARTICLE: Alain Servantie Fr ARTICLE: Alain Servantie, De la mévente de tapisseries bruxelloises en Turquie aux «Façons de faire des Turcs» et à la « Description de la court du Grant Turc 154-200 4. WALL MAP OF TURKISH CAMPAIGN OF 1529 De ARTICLE: Peter H. Meurer and Günter Schilder Die Wandkarte des Türkenzuges 1529 210-234 REPRODUCTION and DESCRIPTION: Die Wandkarte des Türkenzuges 1529 von Johann Haselberg und Christoph Zell, Library of Holkham Hall. . 214-225 REPRODUCTION: Customs and Fashions Reproduction from Boijmans van Beuningen Musuem Collection 236-255 INTRODUCTION NORTHERN EUROPEAN RENAISSANCE AND TURKISH IMAGE This second volume of our series “Scenes from the 16th Century Ottoman Empire” collects some of the very early illustrations of Ottoman Empire and its people by Northern Artists. (Netherlandish, Flemish, German, Austrian and Swiss) It consists of 4 main parts with in every part an art object or an artist. We have given this volume the name of Coecke van der Aelst because his Customs of fashions of Turks is the main object of this book. The four objects are accompanied by earlier published articles by different authors. 1. Mercenaries and Turks 1530 (Museum Booijmans van Beuningen) Museum Boijmans Van Beuningen has since 2010 exceptional set of prints from 1530 called “Landsknechten en Turken” or in english Mercenaries (lansquenets) and Turks, In terms of subject, the lansquenet set (20 woodcut prints) and the Turks is a set of 18 prints. (16 Turks and 2 Muscovites) We will repint in this book the complete Turkish set with additional few specimens of Lansquenets. This chapter is introduced by an article by Peter van der Coelen who is curator of Prints and drawings of the Museum Boijmans Van Beuningen in Rotterdam: 2. Jan Swart van Groningen, Süleyman and His Cortege, 1526 Second chapter of the book consists of 4 drawings made by Jan Swart van Groningen Netherlandish, ca. I500-ca. 1560. Since the beginning of the sixteenth century, long friezes of processions, modelled ultimately on Roman triumphs, had been made in woodcut. Such friezes ranged in size from relatively blocks were published in 1526, the same year as Swart’s Süleyman and His Cortege. Since the fall of Constantinople to the Turks in 1453, Ottoman power had been gaining in both the Near East and Europe, and in 1526 the Turks conquered Mohacs in Hungary. Paralleling fear of the Turks on the part of western Europeans, however, were curiosity and a fascination with the exotic, which a frieze like this would satisfy. The frieze begins with a block of three 2. Pieter Coecke van Aelst Customs and Fashions of Turcs and (1553) The set of Turks from Museum Booijmans van Beuningen, meanwhile, has a splendid counterpart in Pieter Coecke van Aelst’s 1553 frieze, more than four metres wide, depicting the customs and practices of the Turks. Pieter Coecke’s travels in the Ottoman Empire constitute an extraordinary historical fact. In whereabouts of his intention and travels are explored in the articles in this book. Coecke van der Aelst’s panoramic illustrations is the earliest reliable picture of the city as observed from the northern shore of the Golden Horn. Coecke, once again, has innovated with his topographical depiction combined with representations of the daily life of the inhabitants. He based his vista on direct observation and drawings made on the spot. As also illustrated by the other compositions of the Moeurs, Pieter’s images of the Turks are respectful and accurate, far from the propagandistic representations and pamphlet literature widely disseminated in the Habsburg Empire. Through this multicultural views he built bridges between two world, two empires. To prove that he witnessed the events he depicted, he placed Several impressions of Customs and Fashions of the Turks have survived and are currently in collections across the world including to name just a few: Museum Boijmans van Beuningen in Rotterdam (reproduced in pages 236-255), Rijksmuseum in Amsterdam (reproduced in pages 76-98), University of Liege in Belgium, Museum-Plantin Moretus Antwerp, National Library of Spain Madrid, British Museum (reproduced partly in pages 74-75), the Albertina Museum, Vienna, and the Metropolitan Museum of Art New York. For this chapter, I primarily use the impression at the Museum Plantin-Moretus in Antwerp, which is lacking its frontispiece, colophon, and decorative border: Pieter Coecke van Aelst, Ces moeurs et fachons de faire de Turcz, 1553, woodcut, Museum Plantin-Moretus, Antwerp, PK.OP.16099. Only the one in British Museum seems to be complete with the frontispiece, colophon and decorative border and narrating text. For an in depth analysis of Coeckes drawings we have included 4 articles two english written by Nadia M. Orenstein (Metropolitan Musuem of Art from New York), Talitha Maria G. Schepers, and two articles (one in Turkish and one in French by Alain Servantie). 4. The Wall map of the Turkish Campaign of 1529 The last work of art we present in this volume is a Map of an Ottoman Campaign. This map by Johann Haselberg (1514-1537) is a very remarkable map which was recently discovered wall map by swiss artists which is now housed in England is our closing document. This sensational maps is not only a geographical map but tells also the story of Turkish Army camthe Turkish routes of assault into Europe and also containing information about Turkish soldiers dressings and weapons. The map was printed by Christoph Zell in 1530 in Nuremberg. We reproduce this map with the German article by Peter Meurer and Gunther Schiller which have discovered this map in 2007 and published with explanations and description in 2009. by Peter van der Coelen The Museum Boijmans Van Beuningen has acquired in 2009 two exceptional sets of hand-coloured woodcuts from a private collection. The prints date from around 1530 and were made by the Nuremberg artists Sebald Beham, Erhard Schön, Niklas Stoer and Peter Flötner. For more than 50 years after they were sold from the collection of the princes of Liechtenstein they were thought to have been lost. The superb condition of the sheets suggests that they were never hung on a wall but were stored in an album by a collector from early on. Before they were acquired by Johann II, Prince of Liechtenstein, in 1883 they had belonged to the German art scholar Joseph Heller (1758-1849) and the Austrian commanded by Austrian General Franz Ritter von Hauslab (1788-1883). The two series were published by Hans Guldenmund and Niclas Meldeman in Nuremberg. The dimensions of the sheets and the format, a combination of woodcut and text in letterpress, are very similar. The texts are attributed to the same author, the celebrated Nuremberg shoemaker-poet Hans Sachs. Thematically the sets belong together, as pendants of a kind, with German and Swiss soldiers of fortune on one side and Turkish soldiers and their leaders on the other. They can only be understood in their historical context, closely linked as they are with the struggle for hegemony in Europe being waged at this time. A Recovered Treasure from the German Renaissance Soldiers were a favourite subject in European prints of the early sixteenth century. Artists from Germany, Switzerland and the Netherlands portrayed them time after time in woodcuts and on the wall of a crowded inn interior hangs a frieze composed of six or seven woodcuts of standing soldiers. They are ‘lansquenets’, German and Swiss mercenaries in their distinctive costumes. The decoration could just as easily have been prints of Turkish soldiers, though, for they too were quite common at the time this painting was done. Nowadays woodcuts of lansquenets and Turks are very rare indeed. This will not come as a surprise to anyone who has spotted the print coming away from the wall in the painting. Whereas prints by such masters as Albrecht Dürer were cherished for centuries by art lovers and collectors, woodcuts like these were designed to be hung on the wall, pasted on to furniture and chests or used in some other way. It is little short of a minor miracle that two sizable sets of prints of these subjects can now be put on display here— all the more so since these woodcuts have been hand coloured in after they were sold from the collection of the princes of Liechtenstein they were thought to have been lost. Two Sets The two sets, thirty-eight sheets in all, were made in about 1530 by the Nuremberg artists Se- bald Beham (1500-50), Erhard Schön (c. 1491-1542), Niklas Stoer (c. 1500-62/63) and Peter Flötner (c. German Renaissance. This trend was largely brought about by Dürer, whose prints of the Apocalypse and the Passion added a whole new dimension to the art of the woodcut. The technical and stylistic innovations he developed were swiftly adopted by his contemporaries, articularly in his home town of Nuremberg. In the early decades of the sixteenth century the city became a printmaking centre. Venturing beyond the traditional religious subjects, the Nuremberg printmakers explored new themes, capturing peasant life and everyday scenes. It was against this background hat pictures of military men began to appear, among them both lansquenets and Turkish soldiers. Lansquenets One set (inv. no. MB 2010/ 1 a-t) consists of twenty sheets of ‘lansquenets’, Swiss and German mercenaries who played a major rôle in the wars being fought at that time. Lansquenets were feared - on with exaggerated codpieces, doublets with slashed sleeves and broad-brimmed hats with enormous plumes. Soldiers were free to dress as they chose, for there were no uniforms in this period. The bright shades used in these hand-tinted prints provide a unique insight into just how colourful lansquenets’ common foot soldier to ‘Doppelsoldner’ (a soldier who received double pay), ‘Feldwaybel’ (corporal goldsmith who turned to soldiering for lack of customers. Or two Swiss mercenaries, ‘Gall’ and ‘Heyne’, who converse with one another. Or a ‘Büchsenmayster’ who loads his weapon while he brags of Turks The second series (inv. no. MB 2010/2a-r) depicting Turkish soldiers and their commanders, is of immense cultural and historical value. The Ottoman Empire, with its capital of Constantinopheart of Europe, taking the Kingdom of Hungary at the Battle of Mohács in 1526. In September 1529 the Turks besieged Vienna, the capital of the Habsburg territories. This sent a shockwave throughout Christian Europe, for it appeared as though their advance might be unstoppable. In the end, the Siege of Vienna proved disastrous for the Turks and, for the time being at least, put a stop to Ottoman expansion in Europe. Among the many woodcuts issued in response to this historical event, Guldenmund’s set is outstanSiege of Vienna the countryside around the city was ravaged by pillage, arson and murder - it was clearly playing to anti-Turkish feeling. These sheets show Ottoman soldiers carrying off peasants as Taken as a whole, they actually reveal a degree of respect for the enemy, with the mighty Sultan everything has been rendered. Here again, as in the case of the lansquenet set, we see a fascination with the exotic fuelled by a combination of fear and admiration. Two of these eighteen woodcuts do not belong to the Turks series, but they have been kept with the other prints for two centuries. They by Guldenmund. One print depicts Vasili III, who was Grand Prince of Moscow from 1505 to 1533, the other shows a Muscovite on horseback (p. 43). According to the accompanying text, the Muscovites were as much of a threat as the Turks. Braunschweiger Monogrammist, Gemäldegalerie der Staatlichen Museen zu Berlin The prints of lansquenets and Turks must have been very widespread in their day, but nowadays they are extremely rare. Apart from another hand-coloured impression of Beham’s portrait of Grand Vizier Ibrahim Pasha in the British Museum, the series of Turks seems to be unique in this state. Some of the single lansquenet sheets are unique as well, others are known only in a few impressions or later states. Stuck on walls, their fragile paper exposed to light, damp and dirt, all the other impressions have been lost over the years. The two rediscovered sets escaped this fate. The lansquenet and Turks series are described in Max Geisberg’s Der deutsche Einblattholzschnitt (lansquenets: nos. 274, 276, 278-279, 832, 1198-1201, 1203-06, 1209, 1221, 1365, 1367-69, 1371; Turks: 297-99, 1219, 1239-40, 1242-43, 1288, 1382-88) and partly in The Illustrated Bartsch (vol. 13 commentary). The Best descriptions can be found in Ursula Mielke’s Hollstein volume on Erhard Schön (2000), who expresses some doubts on the attribution of the lansquenets to Schön. A tentative reconstruction of the complete lansquenet series consisting of 50 separate woodcuts was made by Birgit von Seggern in der disseration Der Landsknecht im Spiegel der Renaissancegraphik um 1500-1540 (Bonn 2003, pp. 574594). It should be noted that until now most of the illustrations in art historical publictaions - even those in Hollstein and Bartsch - are reproduced after nineteeth-century tracings and facsimiles. The Boijmans has published a free brochure with small illustrations of all prints (Landsknechten end Turken. een teruggevonden schat uit de Duitse reanaissance/ Mercenaries and Turks. A Recovered treasure form the German Renaissance, Rotterdam 2009, 16 pp. 45 col. ills.) See page 7-9 for cover andan overview of the complete Turkish sets illustrations from this brochure. The transparent watercolour achieved a subtle effect that in no way detracts from the graphic nature of the works. In fact, we can go so far as to say that it is only thus that the costumes really come into (Article from Print Quarterly, XXVII, 2010,4 pp. 401-404 this is an abdridged version) 1. Sultan Soleiman de Grote / Sebald Beham Date: c. 1530 Technique: woodcuts, coloured with watercolour, each approx. 30 x 20 cm Boýjmans Van Beuningen Museum Collection Absagbrieff wie Sultan Solleyman König Ferdinand zu geschickt Wir Soltan Solleyman von des grossen Gott im hymmel genaden / und ich Gott auf dem erdtreych/ und aller diese grossmaechtiger Keyser und Soldan zu Babylon / maechtiger Keyser zu Barberia / Koenig zu Egypten / Koenig zu Trabia (Trebizonde) / und in Antiochia / zu Sarthon/ und Koenig des edlen gesteyne in India / Eyn erhalter der Götter / und fürst gelayter der Dürzen Raum /biss auf dem berg der Dchana (Cennet?) / und könig aller könig / von auffgang der Sunnen / biss zum Untergang. Probst des Irdischen Paradeyss Machomeths / trost und heyl dem Türcken und Hayden. / und eyn verderber der Christenheyt / Eyn behüter der grüssen des gecreuzigten Gots / und könig zu Hierusalem. Ferdinandus / der sich schreybt in unsern landen ein könig zu Hungern/ Du solst sich bey verlierung under Kron grenzlich versehen ist wir dich mit dreyzehn Königreychen / in kurzer zeyt mit unser Macht zu Wien suchen wollen / Alleyn der Gross Gott im Hymmel soll dir helfen / So will ich Gott auf Erdtreych / dich und all deyn helffer / mit unsern Kriegstücken / des allerlelendigsten Tods / so wir erdencken mögen / richten lassen /darnach musst du grenzlich versehen / das wir das gemeine Teutschland / unsers Keyserthums im kurtz / mit vaser macht belegern und besetzen wollen. Haben wir dir und deynern brüder Carols nicht wollen verhalten. Datum in Constantinopel im 1529. Jan. Hanns Guldenmondt zu Nürnberg in Sanct Gilgengassen