Description:Arresting in the shear amount and quality of detail, this work offers a composition of endless fascination. Most remarkable for the intense use of line and perspective, Dürer manipulates the block creating a visceral representation of depth and texture. One can only imagine the excitement and fervor of the twelve individuals who surround the Virgin. Each appears fixated upon the serene visage of the Virgin who tenderly directs her attention towards her son. The blessed quality of the scene is enhanced by the four mischievous putti who tumble along the lower margin.
Created in c. 1502, this stunning woodcut features Albrecht Dürer’s (1471 – 1528) signature monogram in the lower center of the image (between two feet of one of the mischievous putti) . This work has also been dated to c. 1580 by the rare watermark within the fine, laid paper on which this woodcut has been printed. The Fish Bladder watermark can be found in Meder 309.
According to W. Strauss (1980) , the composition is as follows: “The Virgin holds the Infant Christ who looks at the Gospel shown to him by an angel, while a second angel plays the harp. The other participants in this crowded scene are (from left to right) : St. Jerome, beckoning his lion who is partly hidden by the column; St. Paul, carrying his sword, as the Defender of the Faith; St. Augustine, wearing a mitre, as Bishop of Hippo; St. Anthony, carrying his pilgrim’s staff, surmounted by a cross and a bell; John the Baptist, holding the lamb; St. Joseph, hat in hand, looking old in order to stress the Virginity; and in the foreground with St. Catherine, the spiked wheel of her martyrdom and a vase with lilies of the valley – symbolizing purity – beside her. The pot next to the Virgin holds peonies, which were considered to have special protective powers, and equated in beauty with lilies and roses” (p. 240) .
Catalogue Raisonné & COA:
It is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the final sale of the work) :
1. Barlow, T.D. (1948) . Woodcuts of Albrecht Dürer. Illustrated as plate no. 83.
2. Kurth, W. Dr. (1946) . The Complete Woodcuts of Albrecht Dürer. Listed as plate 260.
3. Meder, J. (1932) . Dürer-Katalog. Listed as catalogue raisonné no. 232 on pg. 193.
4. Pawlak, M. Albrecht Dürer: 1471 bis 1528, Das gesamte Graphische Werk, Druckgraphik, Band II. Listed and illustrated as plate no. 1588.
5. Scheller, R. W. and Boon, K. G. (1971) . The Graphic Art of Albrecht Dürer, Hans Dürer and the Dürer School. Listed and illustrated as catalogue raisonné no. 232 on page 187.
6. Schoch, R. (2002) . Albrecht Dürer: Das druckgraphische Werk, Band II Holzschnitte und Holzschnittfolgen. Listed and illustrated as catalogue raisonné no. 153 on pg. 174.
7. Strauss, W. L. (1980) . Albrecht Dürer, Woodcuts and Wood Blocks. Listed and illustrated as catalogue raisonné no. 70 on pgs. 240-1.
About the Framing:
This work has received full archival treatment in its framing to insure the quality and longevity of the piece. It is encased in a Spanish-style black and gold frame with gilded detail inspired by floral motifs. Set in a closed-corner frame with matching gold inner fillet with white, linen-wrapped mats behind a Plexiglas® cover. Also features custom-made artist’s plaque below the inner fillet, mounted on the mat: ‘Albrecht Dürer | 1471 – 1528.’
