Article published In:
Reinardus: Yearbook of the International Reynard Society
Edited by Richard Trachsler and Baudouin Van den Abeele
[Reinardus 30] 2018
► pp. 212258



Barre, Aurélie
2002 “L’image du texte. L’enluminure au seuil du manuscrit O.” Reinardus 151: 17–31. DOI logoGoogle Scholar

An interpretation of the single miniature of ms. O of the Roman de Renart (BNF f. fr. 12583) which accompanies branche I (‘Le jugement de Renart’) but illustrates branche XVII (‘La mort et la procession de Renart’).

2004 “Renart à Plaincourault. Du texte à l’image.” Reinardus 171: 23–37. DOI logoGoogle Scholar

A study of the fox scene in the chapel of Plaincourault and its potential relations with the Roman de Renart.

2007 “Marges ou marginalia dans le manuscrit D (Douce 360) du Roman de Renart.” Textimage 11. [URL]

Reaction on Varty 2007. Pays attention to the relations of the marginal illustrations in ms. D to branche I of the Roman de Renart with medieval marginalia in general.[ p.246 ]

Bausch-Bronsing, Robine
2010 “Een middeleeuwse beeldroman? Een beschrijving van de relatie tussen tekst en beeld in handschrift Parijs BNF fr. 12548 van de Roman de Renart.” Tiecelijn 231: 156–203.Google Scholar

Art historical study of the miniatures in ms. I of the Roman de Renart (BNF f. fr. 12584)

Berteloot, Amand & W. Günther Rohr
2005Unter Tieren. Fabelhafte Ausstellung um Reineke, Isegrim & Co. Münster 1 August – 2 September 2005; Osnabrück 13 Oktober – 26 November 2005. Siegen: Carl Böschen Verlag.Google Scholar

Catalogue of an exhibition on books about animals. There are three categories: animals in medieval manuscripts; the medieval animal epic tradition (Latin, French, German, Dutch) up to the incunabula period; modern Reinardian books. 156 pp., 32 illustrations, all b & w.

Berteloot, Amand
2008 “Reynaerts historie.” Tiecelijn 21, Jaarboek 1 van het Reynaertgenootschap: 96–121.Google Scholar

Introductory study of Reynaerts historie. At the end much attention is given to the missing illustration cycle in ms. B (Brussel, KB, 14601).

Busby, Keith
2002Codex and Context. Reading Old French Verse Narrative in Manuscript. 21 vols. Amsterdam/New York: Rodopi.Google Scholar

The book as a whole studies the importance of manuscript studies for literary history. In Chapter 4 (‘Text, Miniature, and Rubrics’) is analysed how miniatures influence the reading experience in the manuscripts of the Roman de Renart (226–253, esp. 233–253).

2014 “Mise en page, matière et miniature dans le ms. Paris Bnf fr. 1630 de Renart le contrefait .” In Le miroir de Renart. Pour une redécouverte de Renart le contrefait, Craig Baker and others eds., 171–186. Louvain-la-Neuve: Université catholique de Louvain.Google Scholar

Analysis of the influence of those codicological aspects of ms. Paris Bnf fr. 1630 of Renart le contrefait that influence the reception of the text. Regarding the miniatures a comparison is made with miniatures in manuscripts of the Roman de Renart and the Roman d’Alexandre.

Clemens, J.
1976 “Iconographie de la mosaïque romane de la cathédrale de Lescar.” Revue de Pau et du Béarn 401: 103–112.Google Scholar

Identifies wolf as Hersent and suggests that she features in a scene from br. VII of the RdR. Repeated by Lefèvre 1978, rejected by Varty 1986 and Varty 1991b.

Czech, Alfred
1993Reineke-Fuchs-Illustrationen im 19. Jahrhundert. (Diss. München 1991). Tuduv Studien Reihe Kunstgeschichte 53. München.Google Scholar

Analyses the illustration cycles that were designed or used in the 19th century for a version of the Reineke story (mostly Goethe’s). Attention is given to Virgil Solis, Allaert Van Everdingen, Johann Heinrich Ramberg, Wilhelm von Kaulbach, and others.

Feliers, Willy
1998 “Het duel – het ‘campspel’.” Tiecelijn 111: 174–180.Google Scholar

Discusses images of the duel between fox and wolf of Andreas Paul Weber, Jelina Kisseljova and Fritz Eichenberg.

2000a “De castratiescène in de Reynaerticonografie.” Tiecelijn 131: 78–87.Google Scholar

Discusses images of Tibeert’s castration of the priest (from Van den vos Reynaerde and its tradition) in book illustrations and in ex libris. Cf. Goossens 1988 and 2000.

2000b “De galgscene in beeld gebracht.” Tiecelijn 131: 21–28.Google Scholar

Discusses the scene of the fox on the gallows in Van den vos Reynaerde and its tradition in book illustrations and in ex libris.

2001 “Désiré Acket en zijn illustraties in de Isengrimus .” Tiecelijn 141: 142–156.Google Scholar

Discusses the illustrations made for the Ysengrimus translation by J. van Mierlo (1946).

2002 “Cuwaert de haas grafisch gezien.” Tiecelijn 151: 88–98.Google Scholar

Analyses images of the hare in illustrations of Reynardian stories and on some woodcuts.

2003 “Een Reynaertschoolplaat van Kathe Olshausen-Schonberger.” Tiecelijn 161: 27–35.Google Scholar

Discusses technique and source of a large print of the fox on the gallows, meant for use in the classroom.[ p.247 ]

2003a “Reineke Fuchs in de Münchener Bilderbogen.” Tiecelijn 161: 215–227.Google Scholar

Discusses the three ‘penny prints’ with the Reineke story from the Münchener Bilderbogen. The illustrations were made by Eduard Ille and were based on Kaulbach’s illustrations.

2004 “Cantecleer de haan in de Reynaerticonografie.” Tiecelijn 171: 279–290.Google Scholar

Analyses how the cock is presented in illustrations in some editions of the Roman de Renart and Goethe’s Reineke Fuchs.

2006 “De centsprent Geschiedenis van Reinaert de vos.” Tiecelijn 191: 30–55.Google Scholar

Analyses a Flemish ‘penny print’ (Glenisson & van Genechten, ca. 1856) which tells the Reynard story in 20 woodcuts, each accompanied by 4 rhyming lines.

Feliers, Willy & Rik Van Daele
eds. 1996Reynaert de Vos in Prent en Ex Libris; Catalogus van de Internationale Exlibriswedstrijd Reynaert de vos 1996. Sint-Niklaas: v.z.w. Tiecelijn-Reynaert.Google Scholar

84pp., 133 b & w illustrations + three in colour. They represent the submissions to an international ex libris competition so all are modern graphics related to the fox stories.

Flinn, J. F.
1975 “L’iconographie du Roman de Renart.” In Aspects of the Medieval Animal Epic. Proceedings of the International Conference (Louvain, May 15–17, 1972), ed. by E. Rombauts and A. Welkenhuysen, 257–264. Leuven University Press / The Hague: Martinus Nijhoff.Google Scholar

Gives a list of Reynardian images in miniatures and sculpture, carving, etc.

Der Fuchs
1988 Published by Künstlerkreis Ortenau, Offenburg & Bausparkasse Schwäbisch Hall AG. Oberkirch: Grimmelshausen-Buchhandlung und Verlag.Google Scholar

Catalogue of an exhibition of modern illustrations of foxes. It also contains richly illustrated introductions on the fox in literature (Dieter Arendt), fairy tales (Wolfgang Schultze) and art (Bingfriede Baumann).

Gathercole, Patricia M.
1971 “Illustrations of the Roman de Renart: Manuscripts BN fr. 1581 and BN fr. 12584.” Gesta 101: 39–44. DOI logoGoogle Scholar

Art historical study of the miniatures in a manuscript of Renart le nouvel and in ms. I of the Roman de Renart. Stylistic aspects are pointed out and some comparisons are made with other contemporary miniatures. It “is useful only for its reproductions of a few miniatures” (Busby 2002, I, 234 n. 19).

Gielen, W.
(ed.) 1994Johann Wolfgang von Goethe & Reineke Fuchs. Hulst: Reynaertstichting.Google Scholar

Catalogue of an exhibition of books. The 116 illustrations are all related to Goethe’s Reineke Fuchs.

Gielen, Wim
2009 “De wegen van Reynaert bij Guido de Graeve.” Tiecelijn 221, Jaarboek 2 van het Reynaertgenootschap: 346–377.Google Scholar

Analyses the Reynaert illustrations of Guido de Graeve (1929–2005) in stained glass windows, paintings and graphics.

Goossens, Jan
1983Die Reynaert-Ikonographie. Darmstadt: WBG.Google Scholar

Studies the Haarlem Master/Wynkyn de Worde/Mohnkopf (Dutch/English/German) illustrations to Reynaerts historie and their relations. On this basis a reconstruction of the Haarlem Master’s cycle is given. Wackers suggested a few minor changes to this reconstruction. See his review in Leuvense Bijdragen 73 (1984), 370–373.

All illustrations from the three series are shown, as are the later Dutch and English series. For the later German illustrations see Vedder (1980). Cf. also Rijns 2007.

1988De gecastreerde neus. Taboes en hun verwerking in de geschiedenis van de Reinaert, Leuven & Amersfoort: Acco.Google Scholar

152 pp., 33 illustrations. Studies the adaptations of text and illustrations of the scene of Tibeert and the priest in the Dutch and the German tradition from the 15th to the 20th century. Cf. Feliers 2000a.

2000 “The Ill-Fated Consequence of the Tom-Cat’s Jump, and Its Illustration.” In Varty 2000, 113–124.Google Scholar

Shortened presentation of the main results of Goossens 1988. Cf. Feliers 2000a.

Hagtingius, Tobias
1984 “A Pornograhic Fox.” In Épopée animale, fable, fabliau. Actes du IVe Colloque de la Société Internationale Renardienne. Evreux, 7–11 septembre 1981, éd. Gabriel Bianciotto & Michel Salvat, 235–248. Paris: PUF.Google Scholar

Concentrates on the preaching fox-friar motif in literature (including the RdR), and in art. The origin is seen in Mesopotamian myth.

Janssens, Jozef D.
1992 “Marginaaltjes in het Gentse …? Middelnederlandse literatuur als cultuurgeschiedenis.” In Cultuurhistorische Caleidoscoop aangeboden aan Prof. Dr. Willy L. Braekman, ed. C. De Backer, 313–342. Gent: Stichting Mens en Kultuur.Google Scholar

Studies marginal illustrations as help for research on cultural history. Among other subjects attention is paid to illustrations of the fable of fox and crane and of the fox teaching the hare the creed (scene from Van den vos Reynaerde) in manuscripts of the so-called Dampierre group.

Janssens, J. D.
1998 “De middeleeuwse vos in beeld. Van Avignon over Murano naar Brugge.” Tiecelijn 111: 2–8.Google Scholar

A series of remarks on images of foxes in Avignon (tile), Venice (a 17th c. copy of a 14th c. capital), Murano (mosaic), Modena (sculpture) and in the margin of a manuscript from the Cistercian abbey Ter Doest, now kept in Bruges.

Janssens, Jozef & Rik Van Daele
2001Reinaerts Streken van 2000 voor tot 2000 na Christus. Leuven (Louvain): Davidsfonds/Literair.Google Scholar

317 pp. Contains 96 illustrations of which 25 are pre-1600 and 56 are post 1900. Twelve are full-page and in colour. The book starts with a general introduction on animal stories and fables. Then the medieval tradition of the animal epic is sketched, but the majority of the book is devoted to the Dutch tradition up to the 20th century.

Kirmse, Herbert
1987Der unheilige Weltspiegel vom Reineke Fuchs. Illustrierte Bücher, Illustrationsentwürfe und graphische Blätter vom 16. bis 20. Jahrhundert aus der Bibliothek Herbert Kirmse. Ausgestellt in der Universitatsbibliothek Erlangen anlässlich des 39. Jahrestags der Fränkischen Bibliophilengesellschaft e.V. in Erlangen vom 2.-5. Oktober 1987 Erlangen: Universitätsbibliothek.Google Scholar

Catalogue of an exhibition of Reynardian books and drawings. The German tradition (from the Lübeck 1498 edition to Goethe’s Reineke Fuchs) dominates, although there are some English books. Artists stem from 5 centuries, the most recent one is Rainer Herold. 88 pag., 50 ill., 8 in color.

1994 “Goethes Reineke Fuchs. Editionen und Illustrationen.” Jahrbuch “Imprimatur”, Neue Folge, XV1: 43–79.Google Scholar

Analyses the illustration tradition of Goethe’s Reineke Fuchs. The text considers all known illustrations of German artists with special attention for Kaulbach. In an appendix all known editions, in whatever language, with Kaulbach’s series are listed. A division is made by etchings in metal and etchings in wood.

Klitzing, Horst
1989Reineke Fuchs, ein europäisches Epos. Eine Ausstellung des Goethe-Museums Düsseldorf von 29. Januar bis 12. März 1989. Düsseldorf: Goethe Museum.Google Scholar

Contains studies of aspects of the German Reynke tradition. The illustrations show manuscripts of Reinhart Fuchs and the Dutch Reynaert tradition, printed Dutch and German Reinaert/Reynke books from the 15th–18th century, illustrations for Goethe’s Reineke Fuchs (Van Everdingen + Kaulbach) and modern Reynaert/Reynke illustrations. 172 pp., 102 full-page illustrations, a few in colour.[ p.249 ]

Lavado Paradinas, Pedro J.
1979 “Acerca de algunos temas iconograficos medievales: el Roman de Renard y el Libro de los Gatos en España.” Revista de Archivos, Bibliotecas y Museos 821: 551–567.Google Scholar

A general, descriptive survey, concentrating on images of funeral processions.

Lecco, Margherita

The title indicates the object. The article contains no illustrations.

Lefèvre, Yves
1978 “La Mosaïque de Lescar et la littérature médiévale: le supplice d’Hersent, la mutilation d’Alderufe, le symbolisme biblique.” In Mélanges de langue et de littérature françaises offerts à Jean Rychner. Travaux de Linguistique et de Littérature, 16, 303–316. Strasbourg: Centre de Philologie er de Littérature Romanes, Université de Strasbourg.Google Scholar

Supports the view that the supplice d’Hersent refers to br. VII, challenged by Varty 1986 and Varty 1991a. See also Clemens 1976.

Maclot, Petra
2012 “Een staart aan het reisverhaal van Henri Verbueckens Reynaertcyclus in Sint-Niklaas.” Tiecelijn 251, Jaarboek 5 van het Reynaertgenootschap: 160–188.Google Scholar

Studies the commission and the intended place for 7 panels painted by the Flemish painter Henri Verbuecken, based on Kaulbach’s Reineke illustrations. Cf. Van Daele 1993, 146–148.

Maierhofer, Waltraud
2014 “Die “Reineke Fuchs”-Radierungen von Johann Heinrich Ramberg; zu einer Neuausgabe.“ In: Vielfalt und Interkulturalität der Internationalen Germanistik; Beiträge des Humboldt-Kollegs Shanghai (28-5-2014). Festgabe für Siegfried Grosse zum 90. Geburtstag, 303–313. Tübingen: Stauffenburg Verlag.Google Scholar

This article acts as preparation for a re-edition of the etchings that Ramberg published in 1826 as illustrations of the Reynard story. (This book appeared as Maierhofer 2016, see Reynardian sources). The line of argument is slightly fuzzy but attention is paid to the relations between the etchings and the drawings that were made as preparation and to the text versions of D. W. Soltau (1803) and Goethe, because adaptations of the original etchings were used in editions of these two versions.

Meuwese, Martine
2006 “The Secret History of the Fox and the Hare in Trinity B.11.22.” In Medieval Manuscripts in Transition. Tradition and Creative Recycling. Eds. Geert H. M. Claassens & Werner Verbeke, 180–195. Leuven: Leuven U.P.. DOI logoGoogle Scholar

Discusses the possibility that two marginal illustrations in ms. Trinity B.11.22 refer to the (Dutch?) Reynaert story and that they have sexual connotations. Important because of the reflection on the difficulties that are inherent in this type of interpretation.

2008 “Reynaert doet dubbelzinnig en Cuwaert is het haasje.” Tiecelijn 211, Jaarboek 1 van het Reynaertgenootschap: 122–132.Google Scholar

Slightly popularising version in Dutch of Meeuwese 2006.

Menke, Hubertus
1992Bibliotheca Reinardiana. Teil I: Die europäischen Reineke-Fuchs-Drucke bis zum Jahre 1800. Stuttgart: Hauswedel & Co..Google Scholar

Descriptive bibliography of all the known printed European Fox-epics to the 19th century. Every chapter, based on a language, contains a set of illustrations from the books described in that chapter. Added are also some ‘iconographic dossiers’ of specific scenes. 472 pp. and 260 illustrations.

Nieboer, Ettina
1990 “La branche de Renart, Liétart et la mort de Brun à travers les manuscrits.” In Dufournet, Jean (ed.) 1990 Le Goupil et le Paysan (Roman de Renart, branche X). Collection Unichamp, 22, 217–251. Paris: Champion.Google Scholar

First concentrates on variations in the text of the prologue in the thirteen mss that contain this branche; then on the different places it occupies in those mss; then on variations in its length; and, finally, on the miniatures that illustrate it.

1991 “Un regard nouveau sur le manuscrit I du Roman de Renart (BN f. fr. 12584).” In Varty 1991, II1, 445–469.Google Scholar

This article deals with the manuscript as a whole, it is not very iconographical but makes remarks on the manuscript’s special place in the tradition because of the 514 miniatures.

Peterson, Per
1981Rävens och Tranans gästabud. En studie över en djurfabel I verbal och ikonografisk tradition, Acta Universitatis Upsaliensis, Studia Ethnologica Upsaliensia 8, Almqvist & Wiksell International, Stockholm.Google Scholar

Studies the fable of Fox and Crane in text and images from antiquity to modern times. 134 pp.

Regalado, Nancy
1992 “Staging the Roman de Renart: Medieval Theatre and the Diffusion of Political Concerns into Popular Culture.” Mediaevalia 181 (1995 for 1992): 111–141.Google Scholar

A comprehensive study of the six Renart scenes in the dramatized procession at Philip the fairs Pentecostal celebration in Paris of the knighting of his sons in 1313. The detailed analyses and discussion draw on scholarly work about dramatic performance, civic and royal processions, iconographical evidence (there are numerous illustrations), and the political issues of the time. Cf. entry 236 in Varty, The Roman de Renart. A Guide to Scholarly Work (note 2).

Rijns, Hans
ed. 2007De gedrukte Nederlandse Reynaerttraditie. Een diplomatische en synoptische uitgave naar de bronnen vanaf 1479 tot 1700. Hilversum: Verloren 2007.Google Scholar

This is first and foremost a synoptic edition of all the printed Reynaert books in Dutch up to 1700. It has, however, also iconographic importance because it contains reproductions of all the illustrations in these books. In principle this material is also available in Goossens 1983, but there one finds only the copies of the series of Quellijn and Jegher from the Southern Dutch chapbooks and here the original Quellijn/Jegher woodcuts are given next to the copies. Cf. 359–392.

Rodin, Kerstin
1983Räven predikar för Gässen. En studie av ett ordspråk i senmedeltida ikonografi. Stockholm: Almqvist & Wiksell.Google Scholar

Study of medieval visual representations of the fox preaching. 119 pp.

Rohr, W Günther
2009Reineke, Isegrim & Co. Katalog zur Ausstellung in der Landesbibliothek Oldenburg 19. März bis 29. Mai 2009. Oldenburg: Isensee Verlag.Google Scholar

Catalogue of an exhibition of Reinardian books. Most attention is paid to the German tradition with a special place for the Grimm brothers and for Goethe. 81 pp., 26 illustrations, five in colour.

Rouse, E. Clive & Kenneth Varty
1976 “Medieval Paintings of Reynard the Fox in Gloucester Cathedral and some other related examples.” The Archeological Journal 1331: 104–117. DOI logoGoogle Scholar

Description and analysis of the paintings on wooden panels in Gloucester cathedral of Reynard’s funeral.

Analysis of a broadsheet with a 16th century polemical text from Lutheran perspective. It uses illustrations based on a capital in the minster of Strasbourg, showing the funeral procession of the seemingly dead fox, a theme that is also handled in branche XVII (‘La mort et la procession de Renart’).[ p.251 ]

Scheidegger, Jean R.
1991 “Renart et Arthur à la cathédrale de Modène.” In Varty 1991a, II1, 391–414.Google Scholar

Interpretation of the Reynardian scene on the tympan of the Porta della Pescheria of the cathedral of Modena (two cocks bearing a seemingly dead fox). It is linked with branche XVII (Mort et procession de Renart), and with the Arthurian scenes on the arch above. Lastly the function of these two worldly themes is interpreted within the whole iconographic programme of the cathedral.

Schouwink, Wilfried
1993 “The Fox’s Funeral in European Art. Transformations of a Literary Motif.” Reinardus special volume: 169–179. DOI logoGoogle Scholar

Studies the representation of the fox’s funeral on the frieze of the parish church in Marienhafe, on the Reynard capital in the cathedral of Strasbourg and on 19th century picturesheets.

Stracke, J. C.
1970 “Der Bilderfries an der ehemaligen Kirche zu Marienhafe (Ostfr.). Versuch einer Ikonographie.” Friesisches Jahrbuch Neue Folge, Bd. 61: 52–66.Google Scholar

Describes the scenes on the (now mostly lost) frieze in the church in Marienhafe and compares them with other images. Here are only relevant the images of the funeral of the fox and the theft of the fishes. The text is mainly descriptive, there is not much scholarly depth.

Subrenat, Jean
2004 “Quand le ‘Roman de Renart’ veut se montrer sérieux.” In. Bestiaire du Moyen Age. Les animaux dans les manuscrits. Eds M.-H. Tesnière & T. Delcourt, 76–89. Paris: Somogy.Google Scholar

In an illustrated publication accompanying an exhibition in various municipal libraries of France, this article gives an overview of the French fable and beast epic traditions, with reproductions of several miniatures (Fleur de vertu, Isopets, Roman de Fauvain, Roman de Fauvel, Roman de Renart, two marginalia and an historiated initial).

Tiecelijn. 1–20 (Tijdschrift voor Reynaerdofielen), 21- (Jaarboek van het Reynaertgenootschap)

Tiecelijn is a periodical for people interested in Reynardian stories, especially Van den vos Reynaerde. Its articles range from scholarly important to just of local interest. It must be mentioned, however, because it always pays attention to the visual representation of Reynardian stories and characters. Almost all articles are available on line. For the volumes 1–20 and for 21–25 (=Jaarboek 1–5) see http://​www​.dbnl​.org​/tekst​/_tie002tiec01​_01/ For the volumes 26 (Jaarboek 6) up to now see http://​www​.reynaertgenootschap​.be​/node​/163.

Treats the way the lion and then the fox is said to carry its prey flung over its shoulder, and is often shown to do so in drawings and paintings. Relevant to br. IIb and to the Nun’s Priest’s Tale. 6 ills.

Van Daele, Rik
1988 “Reynard on Antwerp Cabinets circa 1700.” Reinardus 11: 49–60. DOI logoGoogle Scholar

Discusses the same five Reynaert cabinets as Wackers & Van Daele 1988.

Van Daele, R.
1992 “Als Reynaert de passie preekt, Cantecleer pas op je kippen. Over de haan in de Reynaerttraditie.” In: Literaire, kunsthistorische en volksculturele aspecten van de haan, special volume of De Brabantse folklore en geschiedenis: nr. 275–276, p. 224–255.Google Scholar

Analysis of the role of Cantecleer the cock in the Reynardian tradition and of the way he is depicted in images. 16 ills.

Van Daele, Rik
1993 “The Reynard Illustrations of Wilhelm von Kaulbach in the Low Countries.” Reinardus 61: 139–152, illustrations 1–14. DOI logoGoogle Scholar

Shows the influence of the Kaulbach cycle on visual art in the Low Countries, especially in Flanders. Special attention is given to seven panels by Henri Verbuecken (end 19th century) – cf. Van Daele 2012a and Maclot 2012 – and to the (loose) illustrations for a scrapbook produced by the Victoria chocolate factory.

2012a “Weg van Walburg. Zeven Reynaertpanelen van Henri Verbuecken.” Catalogue, Sint-Niklaas: stadsbestuur.Google Scholar

Cf. Van Daele 1993 and Maclot 2012.

2012b “Zes Reynaertschilderingen in het huis van Max Rooses.” Tiecelijn 25, Jaarboek 5 van het Reynaertgenootschap: 110–159.Google Scholar

Studies six painted panels by Constant Montald, made specifically for a house in Antwerp. The panels are based on the cycle of Kaulbach.

2016a “Reynaert in de Jezuïetenberg in Maastricht. Of scholastiekenkunst naar Wilhelm von Kaulbach.” Tiecelijn 291, Jaarboek 9 van het Reynaertgenootschap: 355–374.Google Scholar

Studies two drawings on the wall of corridors under a hill in Maastricht. The drawings were made by novices of the Jesuit order and based on two of Kaulbach’s illustrations.

2016b “Reynaert in Bratislava.” Tiecelijn 291, Jaarboek 9 van het Reynaertgenootschap: 375–393.Google Scholar

Shows influence of Kaulbach’s Reineke illustrations on wood carvings in the Saint Martinscathedral in Bratislava.

Van Daele, Rik & Paul Wackers
1988 “Nog twee Antwerpse Reynaertmeubelen van omstreeks 1700.” Antiek 23, 3: 128–34.Google Scholar

Continuation of Wackers & Van Daele 1988. Describes two more pieces of furniture from the same workshop but with other images.

Varty, Kenneth
1967Reynard the Fox. A Study of the Fox in Medieval English Art. Leicester: Leicester University Press.Google Scholar

Examples found may be divided thus: non-historiated. The natural fox (alone) – 18 examples; pursued by dog(s) or a man – 17; carrying off prey (bird, rabbit) – 74. historiated examples: posing as a religious (priest, friar, monk, pilgrim, etc) – 63 (of which 30 preach from a pulpit); fox and cock story – 27; trial and associated matter – 12; fox physician – 10; musician – 9; fabulist’s fox – 8; Bestiary fox – 7. musician – 9.

1975 “Further examples of the fox in medieval English art.” In Aspects of the Medieval Animal Epic. Proceedings of the International Conference (Louvain, May 15–17, 1972), edited by E. Rombauts and A. Welkenhuysen, 251–256. Leuven University Press / The Hague: Martinus Nijhoff.Google Scholar

A simple exposition of the way Wynkyn de Worde’s cycle of woodcuts may be established is given here on pp. 252–54.

1980 “The earliest illustrated editions of ‘Reynard the Fox’ and their links with the earliest illustrated continental editions.” In Reynaert Reynard Reynke; Studien zu einem mittelalterlichen Tierepos, ed. Jan Goossens und Timothy Sodmann, Niederdeutsche Studien 27, 160–195, 369–406. Köln/Wien: Böhlau Verlag.Google Scholar

Studies the Wynkyn de Worde woodcuts, their links with the continental tradition and their following on the British Isles. A complete set of WdW cuts follows from p. 369 onwards. There are 147 reproductions of early woodcuts in this volume.

1982 “The Iconography of the Medieval Beast Epic: From Manuscript to Printed Page.” In The Medieval Alexander Legend and Romance Epic: Essays in Honour of David J. A. Ross, ed. Peter Noble, Lucie Polak & Claire Isoz, 243–258. Millwood/London/Nendeln: Kraus.Google Scholar

An outline history of the illustrations of the Beast epic in its manuscript and printed forms, with a description of some recent research and descriptions of the miniatures in Roman de Renart manuscripts and of a selection of woodcuts from the incunabula period. Now superseded by Zumbült 2011 and Varty 1999.

1986 “La Mosaïque de Lescar et la datation des contes de Renart le goupil.” Revue des Langues Romanes 91: 1–12.Google Scholar

Reviews published research (Clemens 1976, Lefèvre 1978 and older studies) on the mosaics on the floor of the choir, and in particular suggestions about the meaning of the fox or wolf tied to the tail of an ass. Argues that this scene depicts part of a three-hundred-line episode in br. IX. Foulet dates this branche c. 1200; art historians date the mosaic 1130–1140.

ed. 1991aÀ la recherche du Roman de Renart, 21 vols. New Alyth: Lochee Publications.Google Scholar
1991b “La mosaïque de Lescar et la datation des contes de Renart le goupil.” In Varty 1991a, II1, 318–329.Google Scholar

Slightly revised version of Varty 1986.

1991c “Le goupil des Bestiaires dans le Roman de Renart .” In Varty 1991a, II1, 344–360.Google Scholar

Studies the relations between the chapter on the fox in the bestiary tradition and its illustrations on the text and the miniatures of the Roman de Renart.

1991d “Les Funérailles de Renart le goupil.” In Varty 1991a, II1, 361–390.Google Scholar

Studies the visual representations of branche XVII (‘La mort et la procession de Renart’) in the visual arts (miniatures, mosaïques, friezes, carvings, drawings). Revised and expanded version of a study from 1966. 35 ills. Of which several had not been previously be published.

1991e “La représentation visuelle de la ‘matière de Renart’.” In Varty 1991a, II1, 415–444.Google Scholar

Studies visual anthologies of the matière renardienne, first in the manuscripts of the Roman de Renart, then in the cycles of the earliest printed editions, and lastly in wood (misericords in Bristol), pewter (on a Antwerp cabinet: see Van Daele 1988), and textile (Lübeck altarcloth).

1991f “Animal Fable and Fabulous Animal: The Evolution of the Species with Specific Reference to the Foxy Kind.” Bestia 31: 5–14.Google Scholar

After a brief survey of the history of Aesopian fable, the Bestiary and Emblem traditions, turns to the Beast Epic proper and to its evolution from the Middle Ages to the present day. The RdR is mentioned briefly (p. 8–9). The mutations experienced by the Beast Epic (and especially the RdR) are shown through illustrations from scholarly, popular adult, and children’s versions; also from dramatizations, films and comic strips.

1999Reynard, Renart, Reinaert, and Other Foxes in Medieval England. The Iconographic Evidence. Amsterdam University Press, Amsterdam. DOI logoGoogle Scholar

Most of the categories listed in Varty 1967 above are repeated but expanded. Most notable additions concern the fox’s funeral and the Wynkyn de Worde series of woodcuts and some of it imitators.

ed. 2000aReynard the Fox; social engagement and cultural metamorphoses in the Beast Epic. Oxford: Berghahn Books.Google Scholar
2000b “Paul Weber’s Satirical Use of Reineke in Cartoon Form.” In Varty 2000a, 209–220.Google Scholar

Argues that the fox in the cartoons by Paul Weber (1893–1980) may be identified with Reineke and discusses the satirical content of these cartoons.

2007 Les Dessins marginaux du manuscrit Douce 360 (Le Roman de Renart) de la Bibliothèque Bodléienne . Textimage 1. [URL]

Studies the – later added – marginal illustrations of branche I of the Roman de Renart in ms. D (Oxford, Bodleian, Douce 360)

Varty, Kenneth & Jean Dufournet
2000 “The Death and Resurrection of the Roman de Renart.” in Varty 2000a, 221–44.Google Scholar

Discusses the disappearance of the Roman de Renart from French literature after the manuscript period and its reappearance in the 19th century, especially by the influence of Paulin Paris. Some other modern adaptations are discussed, the last of which is Le Polar de Renard (1979), a comic book with a completely new intrigue.

Vedder, Raimund
1980 “Die Illustrationen in den frühen Drucken des Reynke de vos.“ In Reynaert Reynard Reynke; Studien zu einem mittelalterlichen Tierepos, ed Jan Goossens und Timothy Sodmann, Niederdeutsche Studien 27, 196–248, 406–444. Köln/Wien: Böhlau Verlag.Google Scholar

Studies the German tradition of Reynke woodcuts. Woodcuts from the 1498 Lübeck edition begin on p. 408. There are 147 reproductions of early woodcuts in this volume.

Verzandvoort, Erwin
1988–1989 “Over de door Plantijn gedrukte uitgaven van Reynaert de vos .” De gulden passer 66–671: 237–252.Google Scholar

Discusses among other subjects the series of 40 woodcuts for the 1566 Reynaert de vos/Reynier le Renard edition by Plantijn, drawn by the Parisian Geoffroy Ballain and cut by Jehan de Gourmont. Attention is given to the discrepancy between drawings (70) and cuts (40), the link with the emblemata tradition and influence of the Haarlem Master tradition on this series.

Sketch of the Dutch chapbook tradition. It is shown that on the basis of small differences in seemingly identical illustrations in different chapbooks, these can be divided into groups. It is also shown that some illustrations prove the existence of lost editions.

1994a “Lezen bij Wilhelm von Kaulbach.” Tiecelijn 71: 68–76.Google Scholar

Study of the texts (on walls, on paper, in books, etc.) present on Kaulbach’s Reineke illustrations.

1994b “Bruun de beer op pad, een iconografische verkenning.” Tiecelijn 71: 138–155.Google Scholar

Exploration of the illustrations of Reynaert’s summoning by Bruun, mainly in the Dutch tradition, from the first printed books to modern times. 35 ills.

Argues that Van Everdingen’s illustrations were originally not meant for a book, although they have become reasonably well known by their inclusion in Gottsched’s Reineke, and later in some impressions of Goethe’s Reineke. A possible Maecenas is suggested, some technical and iconographical properties are discussed, as are possible sources.

Von Fuchs, Friedrich
2001Reineke Fuchs in der Kunst. Wien: Österreichischer Kunst-und Kulturverlag.Google Scholar

144 pp., 127 illustrations, mostly full-page and in colour. Most of the illustrations are based on the Reineke collection of Friedrich von Fuchs. They are ordered according to the story of Goethe’s Reineke Fuchs.

Vroomen, Lisanne
2014 “Een oude vos is kwaad te vangen. Een analyse van de stripbewerking Reynaert de vos van Broens en Legendre.” Tiecelijn 271, Jaarboek 7 van het Reynaertgenootschap: 127–149.Google Scholar

Analysis of a modern graphic novel, retelling Van den vos Reynaerde. The illustrations are remarkable by their references to other works of art and their strong realism.

Foxy: Reynaert in de moderne wereld.” Tiecelijn 291, Jaarboek 9 van het Reynaertgenootschap: 412–418.

Review of a modern graphic novel with a new Reynardian story placed in the contemporary world, but loosely based on Van den vos Reynaerde.

Wackers, Paul
1983 “Drie eeuwen Reinaertillustraties.” Spiegel historiael 181: 242–248.Google Scholar

Overview for non-specialists of the representations on the Haarlem master cycle in printed Reynardian editions in Dutch, English and German from the 15th to the 19th century.

1989 “De Bron van de Illustraties in de Zuidnederlandse Volksboeken.” Tiecelijn 21: 24–25.Google Scholar

Proves that the illustration cycle in Segher van Dort’s Reynaert adaptation (Antwerp 1651) and – in simplified form – in the Flemish chapbooks is based on Jost Amman’s cycle for Hartmann Schopper’s Speculum vitae aulicae (Frankfurt am Main, 1574–75).

1995 “Reynaert de vos als pelgrim.” in Heilig en Profaan. Laatmiddeleeuwse insignes in cultuurhistorisch perspectief, ed. by A. M. Koldeweij and A. Willemsen, 44–52. Amsterdam: Van Soren & Co.Google Scholar

Discusses a pewter badge of a fox with a pilgrim’s staff and a goose on a chain, linking it with some illustrations of the chapter on the fox in bestiaries and on the stories about the fox’s pilgrimage in branches VIII (Le Pèlerinage) and I (Le Jugement) of the Roman de Renart and in Van den vos Reynaerde.

Studies the intended but not executed illustration cycle in ms. B of Reynaerts historie (Brussel, KB, 14601) and its possible links with the miniatures for branche I in ms. I of the Roman de Renart (BN f. fr. 12584) and the woodcut cycle in the 15th century Reinardian incunabula.

Wackers, Paul & Rik Van Daele
1988 “Antwerpse Reynaertscribanen van omstreeks 1700.” Antiek 22, 7: 377–92.Google Scholar

Description of five luxury cabinets made by the atelier of Hendrik van Soest (Antwerp, ca. 1700). They contain pewter illustrations based on the Reinardian cycle of Quellijn and Jegher.

Argues that in studying the iconography of the fox stories attention must be paid to which scenes were chosen for illustration, for what reason and how they were composed. These compositions must then be compared to other, contemporary iconographic or pictorial genres.[ p.256 ]

Zumbült, Beatrix
2011Die europäischen Illustrationen des ‘Reineke Fuchs’ bis zum 16. Jahrhundert. Band I Textteil, Band II Katalogteil. Wissenschaftliche Schriften der Westfälische Wilhelms-Universität Münster, Reihe X, Band 8. MV Wissenschaft. Münster: Monsenstein und Vannerdat OHG.Google Scholar

Art-historical study of the European Reynardian illustrations in miniatures and in woodcuts of the incunabula period. Vol.1, 421 pp. + vol. 2, 513 pp. Vol. 1 contains 731 descriptions of miniatures over 271 pp. Colour reproductions of 175. In the first seven early printed books there are 188 woodcuts, all described; 95 are reproduced. There are 131 black and white illustrations towards the end of the second volume. See the review by Baudouin Van den Abeele in Scriptorium 67 (2013), p. 124*–125*.

Reynardian sources

Renart le Nouvel
BNF fr. 1581 > [URL]

The Roman de Renart is an older text than Renart le Nouvel, but this is the oldest Reynardian manuscript with miniatures. In a colophon it is dated October 9th 1288. Cf. Zumbült 2011, I, 36–81 and II, 1–29.

Roman de Renart
Ms. I, BNF fr. 12584 > [URL]

It contains more than 500 miniatures in oblong format. It is dated between 1375 and 1450. Cf. Busby 2002, 248–253; Zumbült 2011, I, 122–159 and II, 122–271; and Bausch-Bronsing 2010.

Breul, K.
(ed.) 1927The Cambridge Reinaert Fragments (Culemann Fragments). Cambridge: CUP; reprint 2010; electronic reprint 2011 > [URL]

Edition and facsimile of the remaining fragments of an incunabulum printed by Gheraert Leeu in Antwerp between 1487 and 1490. That book contained the woodcut series by the Haarlem master. Only 2 ½ woodcuts remain. For a reconstruction of the whole cycle see Goossens 1983.

Reynke de Vos
, Lübeck 1498Nachdruck des einzig vollständig erhaltenen Exemplars in der Herzog August Bibliothek Wolfenbüttel (32.14 Poet.). Ed. Timothy Sodmann. Hamburg: D. und K. Kötz 1976.Google Scholar

Woodcuts based on the series of the Haarlem Master

Reynke voẞ de olde
. Rostock, Dietz 1539 > [URL]

Woodcuts based on the series in the Lübeck Reynke.

Reynaert de vos/Reynier le Renard
. Antwerp: Plantijn 1566 Facsimile: Brussels: Editions Libro-Sciences 1989.Google Scholar

Woodcuts by Jehan de Gourmont based on drawings by Geoffroy Ballain. Cf. Verzandvoort 1988–1989.

Der listige Reineke Fuchs
… No place, no publisher, no date (ca. 1660–1680). Facsimile ed. Christian Scheffler. Hildesheim/New York: Georg Olms Verlag 1977.Google Scholar

Title woodcut by Virgil Solis, woodcuts from the series of Jost Amman. Cf. Menke 1992, 343–345 (nr. VII 26(1–3)).

Schopper, Hartmann
. Speculum vitae aulicae… Frankfurt am Main: Nic. Bassaeus 1579 > [URL]

Woodcuts by Jost Amman and Virgil Solis.

Reynaert den vos oft der dieren oordeel
. Antwerp: Hieronymus Verdussen, ca. 1700 Ed. Erwin Verzandvoort & Paul Wackers. Antwerpen/Apeldoorn: Berghmans Uitgevers 1988.Google Scholar

Woodcuts copied from the series by Jan Christoffel Jegher based on drawings by Erasmus Quellijn. Cf. Wackers 1989.

Een zeer genoeglyke en vermaaklyke historie van Reynaart de Vos
. Amsterdam: Erve de Wed. Jacobus van Egmont 1773. Facsimile: Hulst: Antiquaritaat Merlijn 1975.Google Scholar

Woodcuts ultimately based on the series of the Haarlem master. Cf. Verzandvoort 1989.

Von Kaulbach, Wilhelm
. Illustrations for Goethe’s Reineke Fuchs, Stuttgart: Cotta 1846.Google Scholar

There are many later editions with this series and most of the illustrations are also easily found on the internet but we have used:

Von Goethe, Johan Wolfgang
. Reineke Fuchs. Mit 36 Illustrationen von Wilhelm von Kaulbach. Wiesbaden: Hasso Ebeling Verlag 1973.Google Scholar
Goethe, Johann Wolfgang
. Reineke Fuchs. Mit Zeichnungen von Oswald Jarisch. Herausgegeben von Steffen Gärtner und Gunter Oettel. Görlitz: Verlag Gunter Oettel 2016.Google Scholar

Edition with the first publication of the ca. 100 drawings that Oswald Jarisch (1902–1979) made as illustrations for Reineke Fuchs while he was in a Russian prison camp in 1944–1948.

Maierhofer, Waltraud
(ed.) 2016Reineke Fuchs – Reynard the Fox. Zeichnungen und Radierungen von Johann Heinrich Ramberg. Textauszüge von Dietrich Wilhelm Soltau. Weimar: Arts and Science.Google Scholar

Contains all the Reynardian etchings that Ramberg (1763–1840) published in 1826 and also of the drawings that he made as preparation. Cf. Maierhofer 2014 and Czech 1993, 19–28. For a pre-publication of a part of the images see http://​www​.goethezeitportal​.de​/fileadmin​/PDF​/db​/wiss​/bildende​_kunst​/maierhofer​_reineke​_fuchs​.pdf

Von Goethe, Johann Wolfgang
. Reineke Fuchs mit Bildern von A. Paul Weber. Stuttgart: Europäische Bildungsgemeinschaft Verlags-GmbH 1977.Google Scholar

Illustrations by A. Paul Weber

Mähl, Joachim
. Reineke Vosz; ut frier Hand. Stuttgart: Cotta 1878 Facsimile: Reineke Voss von Joachim Mähl, Bilder von A. Paul Weber. Gütersloh: Mohndruck Graphische Betriebe 1986.Google Scholar

The original had no illustrations. In the facsimile illustrations by Weber are added.

Weber, A. Paul
. Mit Allen Wassern: Neue Geschichten Vom Alten Fuchs. Frankfurt am Main: Bärmeier & Nikel 1960 (53 ill.) and 1961 (54 ill.)Google Scholar