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Albrecht Durer: Virtuoso Printmaker

  • Albrecht Durer was the pivotal figure of Late Gothic and High Renaissance German art. He remains, after 500 years—like Rembrandt, Goya, and Picasso—one of the supreme masters of printmaking. His engravings and woodcuts are a dazzling combination of observation, imagination, and technical virtuosity. This exhibition included a choice selection of some 45 works from the MFA’s outstanding collection of Durer’s iconic prints.

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  • Saint Jerome in His Study

    1514
    Albrecht Dürer (German, 1471–1528)

    Description

    With incomparable virtuosity Dürer conveys St. Jerome’s energetic application to his scholarly labors (probably his Latin translation of the Bible, the official or Vulgate version) in the ideal scholarly environment. Using subtle variations of line, the artist sought to define not only the individual qualities and textures of the objects in the room, but also the flickering light and shadow that play over and around them. The strength and subtlety of this impression suggests that it was one of the first taken from the plate.

    Provenance

    1923, sold by Mrs. Walter Scott Fitz to the MFA. (Accession Date: January 1, 1923)

    Credit Line

    Gift of Mrs. W. Scott Fitz and Duplicate Print Fund

    Details

    Catalogue Raisonné

    Bartsch (intaglio) 060; Meder 59a

    Dimensions

    Platemark: 24.7 x 18.8 cm (9 3/4 x 7 3/8 in.)

    Accession Number

    23.890

    Medium or Technique

    Engraving

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Prints

    More Info
  • Saint Jerome in His Study

    1514
    Albrecht Dürer (German, 1471–1528)

    Description

    With incomparable virtuosity Dürer conveys St. Jerome’s energetic application to his scholarly labors (probably his Latin translation of the Bible, the official or Vulgate version) in the ideal scholarly environment. Using subtle variations of line, the artist sought to define not only the individual qualities and textures of the objects in the room, but also the flickering light and shadow that play over and around them. The strength and subtlety of this impression suggests that it was one of the first taken from the plate.

    Provenance

    1923, sold by Mrs. Walter Scott Fitz to the MFA. (Accession Date: January 1, 1923)

    Credit Line

    Gift of Mrs. W. Scott Fitz and Duplicate Print Fund

    Details

    Catalogue Raisonné

    Bartsch (intaglio) 060; Meder 59a

    Dimensions

    Platemark: 24.7 x 18.8 cm (9 3/4 x 7 3/8 in.)

    Accession Number

    23.890

    Medium or Technique

    Engraving

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Prints

    More Info
  • Saint Jerome in His Study

    1514
    Albrecht Dürer (German, 1471–1528)

    Description

    With incomparable virtuosity Dürer conveys St. Jerome’s energetic application to his scholarly labors (probably his Latin translation of the Bible, the official or Vulgate version) in the ideal scholarly environment. Using subtle variations of line, the artist sought to define not only the individual qualities and textures of the objects in the room, but also the flickering light and shadow that play over and around them. The strength and subtlety of this impression suggests that it was one of the first taken from the plate.

    Provenance

    1923, sold by Mrs. Walter Scott Fitz to the MFA. (Accession Date: January 1, 1923)

    Credit Line

    Gift of Mrs. W. Scott Fitz and Duplicate Print Fund

    Details

    Catalogue Raisonné

    Bartsch (intaglio) 060; Meder 59a

    Dimensions

    Platemark: 24.7 x 18.8 cm (9 3/4 x 7 3/8 in.)

    Accession Number

    23.890

    Medium or Technique

    Engraving

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Prints

    More Info
  • Saint Jerome in His Study

    1514
    Albrecht Dürer (German, 1471–1528)

    Description

    With incomparable virtuosity Dürer conveys St. Jerome’s energetic application to his scholarly labors (probably his Latin translation of the Bible, the official or Vulgate version) in the ideal scholarly environment. Using subtle variations of line, the artist sought to define not only the individual qualities and textures of the objects in the room, but also the flickering light and shadow that play over and around them. The strength and subtlety of this impression suggests that it was one of the first taken from the plate.

    Provenance

    1923, sold by Mrs. Walter Scott Fitz to the MFA. (Accession Date: January 1, 1923)

    Credit Line

    Gift of Mrs. W. Scott Fitz and Duplicate Print Fund

    Details

    Catalogue Raisonné

    Bartsch (intaglio) 060; Meder 59a

    Dimensions

    Platemark: 24.7 x 18.8 cm (9 3/4 x 7 3/8 in.)

    Accession Number

    23.890

    Medium or Technique

    Engraving

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Prints

    More Info
  • Underweysung der Messung (Teaching of Measurement)

    1538
    Illustrated by Albrecht Dürer (German, 1471–1528), Printer Hieronymus Andreae (German, died in 1556)

    Place of Publication: Nuremberg, Germany

    Description

    Nuremberg: Hieronymus Andreae (Formschneider), 1538

    Provenance

    Purchased from unknown source by MFA, February 7, 1935.

    Credit Line

    Fund in memory of Horatio Greenough Curtis

    Details

    Catalogue Raisonné

    Meder, Books, XXVI, 3rd German ed.; Murray, German, 150; Hollstein 26c

    Dimensions

    Closed book: 29.7 x 20.4 x 2 cm (11 11/16 x 8 1/16 x 13/16 in.) Each sheet: 29.2 x 20.3 cm (11 1/2 x 8 in.) Block (Man Drawing a Vase): 8.3 x 21.5 cm (3 1/4 x 8 7/16 in.) Block (Man Drawing a Nude): 7.5 x 21.5 cm (2 15/16 x 8 7/16 in.)

    Accession Number

    35.53

    Medium or Technique

    Book illustrated with numerous woodcuts and diagrams

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Illustrated Books

    More Info
  • Underweysung der Messung (Teaching of Measurement)

    1538
    Illustrated by Albrecht Dürer (German, 1471–1528), Printer Hieronymus Andreae (German, died in 1556)

    Place of Publication: Nuremberg, Germany

    Description

    Nuremberg: Hieronymus Andreae (Formschneider), 1538

    Provenance

    Purchased from unknown source by MFA, February 7, 1935.

    Credit Line

    Fund in memory of Horatio Greenough Curtis

    Details

    Catalogue Raisonné

    Meder, Books, XXVI, 3rd German ed.; Murray, German, 150; Hollstein 26c

    Dimensions

    Closed book: 29.7 x 20.4 x 2 cm (11 11/16 x 8 1/16 x 13/16 in.) Each sheet: 29.2 x 20.3 cm (11 1/2 x 8 in.) Block (Man Drawing a Vase): 8.3 x 21.5 cm (3 1/4 x 8 7/16 in.) Block (Man Drawing a Nude): 7.5 x 21.5 cm (2 15/16 x 8 7/16 in.)

    Accession Number

    35.53

    Medium or Technique

    Book illustrated with numerous woodcuts and diagrams

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Illustrated Books

    More Info
  • Underweysung der Messung (Teaching of Measurement)

    1538
    Illustrated by Albrecht Dürer (German, 1471–1528), Printer Hieronymus Andreae (German, died in 1556)

    Place of Publication: Nuremberg, Germany

    Description

    Nuremberg: Hieronymus Andreae (Formschneider), 1538

    Provenance

    Purchased from unknown source by MFA, February 7, 1935.

    Credit Line

    Fund in memory of Horatio Greenough Curtis

    Details

    Catalogue Raisonné

    Meder, Books, XXVI, 3rd German ed.; Murray, German, 150; Hollstein 26c

    Dimensions

    Closed book: 29.7 x 20.4 x 2 cm (11 11/16 x 8 1/16 x 13/16 in.) Each sheet: 29.2 x 20.3 cm (11 1/2 x 8 in.) Block (Man Drawing a Vase): 8.3 x 21.5 cm (3 1/4 x 8 7/16 in.) Block (Man Drawing a Nude): 7.5 x 21.5 cm (2 15/16 x 8 7/16 in.)

    Accession Number

    35.53

    Medium or Technique

    Book illustrated with numerous woodcuts and diagrams

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Illustrated Books

    More Info
  • Underweysung der Messung (Teaching of Measurement)

    1538
    Illustrated by Albrecht Dürer (German, 1471–1528), Printer Hieronymus Andreae (German, died in 1556)

    Place of Publication: Nuremberg, Germany

    Description

    Nuremberg: Hieronymus Andreae (Formschneider), 1538

    Provenance

    Purchased from unknown source by MFA, February 7, 1935.

    Credit Line

    Fund in memory of Horatio Greenough Curtis

    Details

    Catalogue Raisonné

    Meder, Books, XXVI, 3rd German ed.; Murray, German, 150; Hollstein 26c

    Dimensions

    Closed book: 29.7 x 20.4 x 2 cm (11 11/16 x 8 1/16 x 13/16 in.) Each sheet: 29.2 x 20.3 cm (11 1/2 x 8 in.) Block (Man Drawing a Vase): 8.3 x 21.5 cm (3 1/4 x 8 7/16 in.) Block (Man Drawing a Nude): 7.5 x 21.5 cm (2 15/16 x 8 7/16 in.)

    Accession Number

    35.53

    Medium or Technique

    Book illustrated with numerous woodcuts and diagrams

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Illustrated Books

    More Info
  • Nemesis (The Great Fortune)

    about 1501–02
    Albrecht Dürer (German, 1471–1528)

    Description

    Markings

    watermark: high crown

    Provenance

    Wurttemberg collection; Richard H. Zinser (about 1883-1983, Forest Hills, NY); purchased by MFA May 13, 1954

    Credit Line

    1951 Purchase Fund

    Details

    Catalogue Raisonné

    Bartsch (intaglio) 077; Meder 72, I, b

    Dimensions

    Platemark: 32.9 x 22.4 cm (12 15/16 x 8 13/16 in.)

    Accession Number

    54.577

    Medium or Technique

    Engraving

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Prints

    More Info
  • Nemesis (The Great Fortune)

    about 1501–02
    Albrecht Dürer (German, 1471–1528)

    Description

    Markings

    watermark: high crown

    Provenance

    Wurttemberg collection; Richard H. Zinser (about 1883-1983, Forest Hills, NY); purchased by MFA May 13, 1954

    Credit Line

    1951 Purchase Fund

    Details

    Catalogue Raisonné

    Bartsch (intaglio) 077; Meder 72, I, b

    Dimensions

    Platemark: 32.9 x 22.4 cm (12 15/16 x 8 13/16 in.)

    Accession Number

    54.577

    Medium or Technique

    Engraving

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Prints

    More Info
  • Nemesis (The Great Fortune)

    about 1501–02
    Albrecht Dürer (German, 1471–1528)

    Description

    Markings

    watermark: high crown

    Provenance

    Wurttemberg collection; Richard H. Zinser (about 1883-1983, Forest Hills, NY); purchased by MFA May 13, 1954

    Credit Line

    1951 Purchase Fund

    Details

    Catalogue Raisonné

    Bartsch (intaglio) 077; Meder 72, I, b

    Dimensions

    Platemark: 32.9 x 22.4 cm (12 15/16 x 8 13/16 in.)

    Accession Number

    54.577

    Medium or Technique

    Engraving

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Prints

    More Info
  • Nemesis (The Great Fortune)

    about 1501–02
    Albrecht Dürer (German, 1471–1528)

    Description

    Markings

    watermark: high crown

    Provenance

    Wurttemberg collection; Richard H. Zinser (about 1883-1983, Forest Hills, NY); purchased by MFA May 13, 1954

    Credit Line

    1951 Purchase Fund

    Details

    Catalogue Raisonné

    Bartsch (intaglio) 077; Meder 72, I, b

    Dimensions

    Platemark: 32.9 x 22.4 cm (12 15/16 x 8 13/16 in.)

    Accession Number

    54.577

    Medium or Technique

    Engraving

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Prints

    More Info
  • The Fall of Man (Adam and Eve)

    1504
    Albrecht Dürer (German, 1471–1528)

    Description

    Dürer’s “Adam and Eve” presents human bodies according to the ideals of the Italian Renaissance. The image is also dense with late-medieval symbolism. The animals in the foreground represent characteristics of the four “humors”: melancholy (the elk), sensuality (the rabbit), cruelty (the cat), and sluggishness (the ox). It was believed that these “humors” had been in perfect equilibrium within the human body until Adam ate the forbidden fruit.

    Provenance

    Friedrich August II (Lugt 971); Tomás Harris (England, 1908-1964); purchased through P. & D. Colnaghi & Co., Ltd., London by MFA April 10,1968

    Credit Line

    Museum purchase with a Centennial Gift from Landon T. Clay

    Details

    Catalogue Raisonné

    Bartsch (intaglio) 001; Meder 1, II, a

    Dimensions

    Platemark: 25.2 x 19.4 cm (9 15/16 x 7 5/8 in.)

    Accession Number

    68.187

    Medium or Technique

    Engraving

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Prints

    More Info
  • The Fall of Man (Adam and Eve)

    1504
    Albrecht Dürer (German, 1471–1528)

    Description

    Dürer’s “Adam and Eve” presents human bodies according to the ideals of the Italian Renaissance. The image is also dense with late-medieval symbolism. The animals in the foreground represent characteristics of the four “humors”: melancholy (the elk), sensuality (the rabbit), cruelty (the cat), and sluggishness (the ox). It was believed that these “humors” had been in perfect equilibrium within the human body until Adam ate the forbidden fruit.

    Provenance

    Friedrich August II (Lugt 971); Tomás Harris (England, 1908-1964); purchased through P. & D. Colnaghi & Co., Ltd., London by MFA April 10,1968

    Credit Line

    Museum purchase with a Centennial Gift from Landon T. Clay

    Details

    Catalogue Raisonné

    Bartsch (intaglio) 001; Meder 1, II, a

    Dimensions

    Platemark: 25.2 x 19.4 cm (9 15/16 x 7 5/8 in.)

    Accession Number

    68.187

    Medium or Technique

    Engraving

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Prints

    More Info
  • The Fall of Man (Adam and Eve)

    1504
    Albrecht Dürer (German, 1471–1528)

    Description

    Dürer’s “Adam and Eve” presents human bodies according to the ideals of the Italian Renaissance. The image is also dense with late-medieval symbolism. The animals in the foreground represent characteristics of the four “humors”: melancholy (the elk), sensuality (the rabbit), cruelty (the cat), and sluggishness (the ox). It was believed that these “humors” had been in perfect equilibrium within the human body until Adam ate the forbidden fruit.

    Provenance

    Friedrich August II (Lugt 971); Tomás Harris (England, 1908-1964); purchased through P. & D. Colnaghi & Co., Ltd., London by MFA April 10,1968

    Credit Line

    Museum purchase with a Centennial Gift from Landon T. Clay

    Details

    Catalogue Raisonné

    Bartsch (intaglio) 001; Meder 1, II, a

    Dimensions

    Platemark: 25.2 x 19.4 cm (9 15/16 x 7 5/8 in.)

    Accession Number

    68.187

    Medium or Technique

    Engraving

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Prints

    More Info
  • The Fall of Man (Adam and Eve)

    1504
    Albrecht Dürer (German, 1471–1528)

    Description

    Dürer’s “Adam and Eve” presents human bodies according to the ideals of the Italian Renaissance. The image is also dense with late-medieval symbolism. The animals in the foreground represent characteristics of the four “humors”: melancholy (the elk), sensuality (the rabbit), cruelty (the cat), and sluggishness (the ox). It was believed that these “humors” had been in perfect equilibrium within the human body until Adam ate the forbidden fruit.

    Provenance

    Friedrich August II (Lugt 971); Tomás Harris (England, 1908-1964); purchased through P. & D. Colnaghi & Co., Ltd., London by MFA April 10,1968

    Credit Line

    Museum purchase with a Centennial Gift from Landon T. Clay

    Details

    Catalogue Raisonné

    Bartsch (intaglio) 001; Meder 1, II, a

    Dimensions

    Platemark: 25.2 x 19.4 cm (9 15/16 x 7 5/8 in.)

    Accession Number

    68.187

    Medium or Technique

    Engraving

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Prints

    More Info
  • Melencolia I

    Melancholia I

    1514
    Albrecht Dürer (German, 1471–1528)

    Description

    The moody, melancholic temperament was identified in the Renaissance not so much with depression as with exceptional creativity, and thus intellectuals and artists were closely associated with Melancholia. In Dürer’s depiction, the brooding, winged figure is surrounded by instruments relating to science and art, such as the compass, the hourglass, the scales, and the carpenters’ tools in the foreground.

    Inscription

    various graphite inscriptions on verso "Ag.o" inscription in brown ink, located at bottom right recto

    Markings

    "P.L" black ink stamp in lower right corner (recto) - Peter Lely Harris stamp in brown ink, bottom left (verso) two mfa stamps (verso)

    Provenance

    P. Lely (Lugt 2092); Tomás Harris (England, 1908-1964); purchased through P. & D. Colnaghi & Co., Ltd., London by MFA April 10,1968

    Credit Line

    Museum purchase with a Centennial Gift from Landon T. Clay

    Details

    Catalogue Raisonné

    Bartsch (intaglio) 074; Meder 75, II, c(?)

    Dimensions

    Platemark: 23.9 x 16.8 cm (9 7/16 x 6 5/8 in.)

    Accession Number

    68.188

    Medium or Technique

    Engraving

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Prints

    More Info
  • Melencolia I

    Melancholia I

    1514
    Albrecht Dürer (German, 1471–1528)

    Description

    The moody, melancholic temperament was identified in the Renaissance not so much with depression as with exceptional creativity, and thus intellectuals and artists were closely associated with Melancholia. In Dürer’s depiction, the brooding, winged figure is surrounded by instruments relating to science and art, such as the compass, the hourglass, the scales, and the carpenters’ tools in the foreground.

    Inscription

    various graphite inscriptions on verso "Ag.o" inscription in brown ink, located at bottom right recto

    Markings

    "P.L" black ink stamp in lower right corner (recto) - Peter Lely Harris stamp in brown ink, bottom left (verso) two mfa stamps (verso)

    Provenance

    P. Lely (Lugt 2092); Tomás Harris (England, 1908-1964); purchased through P. & D. Colnaghi & Co., Ltd., London by MFA April 10,1968

    Credit Line

    Museum purchase with a Centennial Gift from Landon T. Clay

    Details

    Catalogue Raisonné

    Bartsch (intaglio) 074; Meder 75, II, c(?)

    Dimensions

    Platemark: 23.9 x 16.8 cm (9 7/16 x 6 5/8 in.)

    Accession Number

    68.188

    Medium or Technique

    Engraving

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Prints

    More Info
  • Melencolia I

    Melancholia I

    1514
    Albrecht Dürer (German, 1471–1528)

    Description

    The moody, melancholic temperament was identified in the Renaissance not so much with depression as with exceptional creativity, and thus intellectuals and artists were closely associated with Melancholia. In Dürer’s depiction, the brooding, winged figure is surrounded by instruments relating to science and art, such as the compass, the hourglass, the scales, and the carpenters’ tools in the foreground.

    Inscription

    various graphite inscriptions on verso "Ag.o" inscription in brown ink, located at bottom right recto

    Markings

    "P.L" black ink stamp in lower right corner (recto) - Peter Lely Harris stamp in brown ink, bottom left (verso) two mfa stamps (verso)

    Provenance

    P. Lely (Lugt 2092); Tomás Harris (England, 1908-1964); purchased through P. & D. Colnaghi & Co., Ltd., London by MFA April 10,1968

    Credit Line

    Museum purchase with a Centennial Gift from Landon T. Clay

    Details

    Catalogue Raisonné

    Bartsch (intaglio) 074; Meder 75, II, c(?)

    Dimensions

    Platemark: 23.9 x 16.8 cm (9 7/16 x 6 5/8 in.)

    Accession Number

    68.188

    Medium or Technique

    Engraving

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Prints

    More Info
  • Melencolia I

    Melancholia I

    1514
    Albrecht Dürer (German, 1471–1528)

    Description

    The moody, melancholic temperament was identified in the Renaissance not so much with depression as with exceptional creativity, and thus intellectuals and artists were closely associated with Melancholia. In Dürer’s depiction, the brooding, winged figure is surrounded by instruments relating to science and art, such as the compass, the hourglass, the scales, and the carpenters’ tools in the foreground.

    Inscription

    various graphite inscriptions on verso "Ag.o" inscription in brown ink, located at bottom right recto

    Markings

    "P.L" black ink stamp in lower right corner (recto) - Peter Lely Harris stamp in brown ink, bottom left (verso) two mfa stamps (verso)

    Provenance

    P. Lely (Lugt 2092); Tomás Harris (England, 1908-1964); purchased through P. & D. Colnaghi & Co., Ltd., London by MFA April 10,1968

    Credit Line

    Museum purchase with a Centennial Gift from Landon T. Clay

    Details

    Catalogue Raisonné

    Bartsch (intaglio) 074; Meder 75, II, c(?)

    Dimensions

    Platemark: 23.9 x 16.8 cm (9 7/16 x 6 5/8 in.)

    Accession Number

    68.188

    Medium or Technique

    Engraving

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Prints

    More Info
  • Martyrdom of Saint Catherine

    about 1498
    Albrecht Dürer (German, 1471–1528)

    Description

    When Saint Catherine of Alexandria confronted a fourth-century emperor over his persecution of the Christians and his worship of idols, he subjected her to an interrogation by all the scholars at his command. Her knowledge and eloquence proved so unimpeachable that her inquisitors were converted to Christianity. The infuriated emperor ordered her death upon a wheel studded with spikes, but was foiled when a divine thunderbolt shattered the wheel. The emperor finally had her beheaded, whereupon angels carried her body to Mount Sinai. In the late Middle Ages, Catherine was the most highly venerated saint apart from the Virgin Mary.

    Markings

    watermark: Imperial Orb (Meder 53); verso, stamped in ink -- mark of Vincent Mayer (Lugt 2525)

    Provenance

    Vincent Mayer (1831-1918, Fribourg, Lugt 2525); Brigitte Laube (Zurich); from whom purchased through her daughter Daniela Laube by the MFA, December 17, 2008.

    Credit Line

    Museum purchase with funds donated anonymously

    Details

    Catalogue Raisonné

    Bartsch (relief) 120; Meder 236a

    Dimensions

    Sheet: 38.7 x 28.6 cm (15 1/4 x 11 1/4 in.)

    Accession Number

    2008.1408

    Medium or Technique

    Woodcut

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Prints

    More Info
  • Martyrdom of Saint Catherine

    about 1498
    Albrecht Dürer (German, 1471–1528)

    Description

    When Saint Catherine of Alexandria confronted a fourth-century emperor over his persecution of the Christians and his worship of idols, he subjected her to an interrogation by all the scholars at his command. Her knowledge and eloquence proved so unimpeachable that her inquisitors were converted to Christianity. The infuriated emperor ordered her death upon a wheel studded with spikes, but was foiled when a divine thunderbolt shattered the wheel. The emperor finally had her beheaded, whereupon angels carried her body to Mount Sinai. In the late Middle Ages, Catherine was the most highly venerated saint apart from the Virgin Mary.

    Markings

    watermark: Imperial Orb (Meder 53); verso, stamped in ink -- mark of Vincent Mayer (Lugt 2525)

    Provenance

    Vincent Mayer (1831-1918, Fribourg, Lugt 2525); Brigitte Laube (Zurich); from whom purchased through her daughter Daniela Laube by the MFA, December 17, 2008.

    Credit Line

    Museum purchase with funds donated anonymously

    Details

    Catalogue Raisonné

    Bartsch (relief) 120; Meder 236a

    Dimensions

    Sheet: 38.7 x 28.6 cm (15 1/4 x 11 1/4 in.)

    Accession Number

    2008.1408

    Medium or Technique

    Woodcut

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Prints

    More Info
  • Martyrdom of Saint Catherine

    about 1498
    Albrecht Dürer (German, 1471–1528)

    Description

    When Saint Catherine of Alexandria confronted a fourth-century emperor over his persecution of the Christians and his worship of idols, he subjected her to an interrogation by all the scholars at his command. Her knowledge and eloquence proved so unimpeachable that her inquisitors were converted to Christianity. The infuriated emperor ordered her death upon a wheel studded with spikes, but was foiled when a divine thunderbolt shattered the wheel. The emperor finally had her beheaded, whereupon angels carried her body to Mount Sinai. In the late Middle Ages, Catherine was the most highly venerated saint apart from the Virgin Mary.

    Markings

    watermark: Imperial Orb (Meder 53); verso, stamped in ink -- mark of Vincent Mayer (Lugt 2525)

    Provenance

    Vincent Mayer (1831-1918, Fribourg, Lugt 2525); Brigitte Laube (Zurich); from whom purchased through her daughter Daniela Laube by the MFA, December 17, 2008.

    Credit Line

    Museum purchase with funds donated anonymously

    Details

    Catalogue Raisonné

    Bartsch (relief) 120; Meder 236a

    Dimensions

    Sheet: 38.7 x 28.6 cm (15 1/4 x 11 1/4 in.)

    Accession Number

    2008.1408

    Medium or Technique

    Woodcut

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Prints

    More Info
  • Martyrdom of Saint Catherine

    about 1498
    Albrecht Dürer (German, 1471–1528)

    Description

    When Saint Catherine of Alexandria confronted a fourth-century emperor over his persecution of the Christians and his worship of idols, he subjected her to an interrogation by all the scholars at his command. Her knowledge and eloquence proved so unimpeachable that her inquisitors were converted to Christianity. The infuriated emperor ordered her death upon a wheel studded with spikes, but was foiled when a divine thunderbolt shattered the wheel. The emperor finally had her beheaded, whereupon angels carried her body to Mount Sinai. In the late Middle Ages, Catherine was the most highly venerated saint apart from the Virgin Mary.

    Markings

    watermark: Imperial Orb (Meder 53); verso, stamped in ink -- mark of Vincent Mayer (Lugt 2525)

    Provenance

    Vincent Mayer (1831-1918, Fribourg, Lugt 2525); Brigitte Laube (Zurich); from whom purchased through her daughter Daniela Laube by the MFA, December 17, 2008.

    Credit Line

    Museum purchase with funds donated anonymously

    Details

    Catalogue Raisonné

    Bartsch (relief) 120; Meder 236a

    Dimensions

    Sheet: 38.7 x 28.6 cm (15 1/4 x 11 1/4 in.)

    Accession Number

    2008.1408

    Medium or Technique

    Woodcut

    Not On View

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  • The Four Horsemen (Apocalypse)

    Probably 1497–98
    Albrecht Dürer (German, 1471–1528)

    Description

    In the Bible, the apostle John’s Book of Revelations (The Apocalypse) describes the first rider as the conqueror, the second war, the third famine, and the fourth death. Dürer’s version of the Apocalypse is made up of 15 woodcuts and a title page whose conceptual and technical qualities revolutionized the graphic arts and impacted art in numerous other media as well.

    Markings

    watermark: Imperial orb

    Provenance

    J. H. von Hefner Alteneck (Lugt 1254), M. J. Perry (Lugt 1880); Francis Bullard (Boston, 1862-1913), (Lugt 982); bequest to the MFA February, 1913

    Credit Line

    Bequest of Francis Bullard, 1913

    Details

    Catalogue Raisonné

    Bartsch (relief) 064; Meder 167, before the text edition, b

    Dimensions

    Block: 39.4 x 28.1 cm (15 1/2 x 11 1/16 in.)

    Accession Number

    M24884

    Medium or Technique

    Woodcut, proof before text

    Not On View

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  • The Four Horsemen (Apocalypse)

    Probably 1497–98
    Albrecht Dürer (German, 1471–1528)

    Description

    In the Bible, the apostle John’s Book of Revelations (The Apocalypse) describes the first rider as the conqueror, the second war, the third famine, and the fourth death. Dürer’s version of the Apocalypse is made up of 15 woodcuts and a title page whose conceptual and technical qualities revolutionized the graphic arts and impacted art in numerous other media as well.

    Markings

    watermark: Imperial orb

    Provenance

    J. H. von Hefner Alteneck (Lugt 1254), M. J. Perry (Lugt 1880); Francis Bullard (Boston, 1862-1913), (Lugt 982); bequest to the MFA February, 1913

    Credit Line

    Bequest of Francis Bullard, 1913

    Details

    Catalogue Raisonné

    Bartsch (relief) 064; Meder 167, before the text edition, b

    Dimensions

    Block: 39.4 x 28.1 cm (15 1/2 x 11 1/16 in.)

    Accession Number

    M24884

    Medium or Technique

    Woodcut, proof before text

    Not On View

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  • The Four Horsemen (Apocalypse)

    Probably 1497–98
    Albrecht Dürer (German, 1471–1528)

    Description

    In the Bible, the apostle John’s Book of Revelations (The Apocalypse) describes the first rider as the conqueror, the second war, the third famine, and the fourth death. Dürer’s version of the Apocalypse is made up of 15 woodcuts and a title page whose conceptual and technical qualities revolutionized the graphic arts and impacted art in numerous other media as well.

    Markings

    watermark: Imperial orb

    Provenance

    J. H. von Hefner Alteneck (Lugt 1254), M. J. Perry (Lugt 1880); Francis Bullard (Boston, 1862-1913), (Lugt 982); bequest to the MFA February, 1913

    Credit Line

    Bequest of Francis Bullard, 1913

    Details

    Catalogue Raisonné

    Bartsch (relief) 064; Meder 167, before the text edition, b

    Dimensions

    Block: 39.4 x 28.1 cm (15 1/2 x 11 1/16 in.)

    Accession Number

    M24884

    Medium or Technique

    Woodcut, proof before text

    Not On View

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  • The Four Horsemen (Apocalypse)

    Probably 1497–98
    Albrecht Dürer (German, 1471–1528)

    Description

    In the Bible, the apostle John’s Book of Revelations (The Apocalypse) describes the first rider as the conqueror, the second war, the third famine, and the fourth death. Dürer’s version of the Apocalypse is made up of 15 woodcuts and a title page whose conceptual and technical qualities revolutionized the graphic arts and impacted art in numerous other media as well.

    Markings

    watermark: Imperial orb

    Provenance

    J. H. von Hefner Alteneck (Lugt 1254), M. J. Perry (Lugt 1880); Francis Bullard (Boston, 1862-1913), (Lugt 982); bequest to the MFA February, 1913

    Credit Line

    Bequest of Francis Bullard, 1913

    Details

    Catalogue Raisonné

    Bartsch (relief) 064; Meder 167, before the text edition, b

    Dimensions

    Block: 39.4 x 28.1 cm (15 1/2 x 11 1/16 in.)

    Accession Number

    M24884

    Medium or Technique

    Woodcut, proof before text

    Not On View

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  • Bearing of the Cross (Large Passion)

    1498–99
    Albrecht Dürer (German, 1471–1528)

    Description

    Signed

    lower center: [Dürer's monogram]

    Markings

    watermark: Imperial orb (M. 53); verso, traces of collector's stamp in purple, lower left, bird facing left with the initials R.F. underneath [R. Fisher; Lugt 2204]; in graphite: a46614; 10; Imperial globe [...?] No 11

    Provenance

    R. Fisher (1809-1890, England), sold by Sotheby's May 1892; Francis Bullard (1862-1913, Boston); bequest to the MFA February 1913

    Credit Line

    Bequest of Francis Bullard

    Details

    Catalogue Raisonné

    Bartsch (relief) 010; Meder 119, before the text edition

    Dimensions

    Block: 38.4 x 28.3 cm (15 1/8 x 11 1/8 in.)

    Accession Number

    13.5096

    Medium or Technique

    Woodcut

    Not On View

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  • Bearing of the Cross (Large Passion)

    1498–99
    Albrecht Dürer (German, 1471–1528)

    Description

    Signed

    lower center: [Dürer's monogram]

    Markings

    watermark: Imperial orb (M. 53); verso, traces of collector's stamp in purple, lower left, bird facing left with the initials R.F. underneath [R. Fisher; Lugt 2204]; in graphite: a46614; 10; Imperial globe [...?] No 11

    Provenance

    R. Fisher (1809-1890, England), sold by Sotheby's May 1892; Francis Bullard (1862-1913, Boston); bequest to the MFA February 1913

    Credit Line

    Bequest of Francis Bullard

    Details

    Catalogue Raisonné

    Bartsch (relief) 010; Meder 119, before the text edition

    Dimensions

    Block: 38.4 x 28.3 cm (15 1/8 x 11 1/8 in.)

    Accession Number

    13.5096

    Medium or Technique

    Woodcut

    Not On View

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  • Bearing of the Cross (Large Passion)

    1498–99
    Albrecht Dürer (German, 1471–1528)

    Description

    Signed

    lower center: [Dürer's monogram]

    Markings

    watermark: Imperial orb (M. 53); verso, traces of collector's stamp in purple, lower left, bird facing left with the initials R.F. underneath [R. Fisher; Lugt 2204]; in graphite: a46614; 10; Imperial globe [...?] No 11

    Provenance

    R. Fisher (1809-1890, England), sold by Sotheby's May 1892; Francis Bullard (1862-1913, Boston); bequest to the MFA February 1913

    Credit Line

    Bequest of Francis Bullard

    Details

    Catalogue Raisonné

    Bartsch (relief) 010; Meder 119, before the text edition

    Dimensions

    Block: 38.4 x 28.3 cm (15 1/8 x 11 1/8 in.)

    Accession Number

    13.5096

    Medium or Technique

    Woodcut

    Not On View

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    Europe, Prints and Drawings

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  • Bearing of the Cross (Large Passion)

    1498–99
    Albrecht Dürer (German, 1471–1528)

    Description

    Signed

    lower center: [Dürer's monogram]

    Markings

    watermark: Imperial orb (M. 53); verso, traces of collector's stamp in purple, lower left, bird facing left with the initials R.F. underneath [R. Fisher; Lugt 2204]; in graphite: a46614; 10; Imperial globe [...?] No 11

    Provenance

    R. Fisher (1809-1890, England), sold by Sotheby's May 1892; Francis Bullard (1862-1913, Boston); bequest to the MFA February 1913

    Credit Line

    Bequest of Francis Bullard

    Details

    Catalogue Raisonné

    Bartsch (relief) 010; Meder 119, before the text edition

    Dimensions

    Block: 38.4 x 28.3 cm (15 1/8 x 11 1/8 in.)

    Accession Number

    13.5096

    Medium or Technique

    Woodcut

    Not On View

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  • The Trinity

    1515
    Albrecht Dürer (German, 1471–1528)

    Description

    Four years after making a woodcut of “The Holy Trinity,” Dürer redrew the central group of his composition, presumably for his own instruction and pleasure. In the drawing, the relationship between God the Father and the dead Christ is more tender than in the print.

    Provenance

    Otto Gutekunst, London; from whom purchased by the MFA, Boston (Accession date: October 8, 1936)

    Credit Line

    1931 Purchase Fund and Anna Mitchell Richards Fund

    Details

    Catalogue Raisonné

    Winkler 583

    Dimensions

    Overall: 29.7 x 21.7cm (11 11/16 x 8 9/16in.) Framed: 56.2 x 47 x 3.3 cm (22 1/8 x 18 1/2 x 1 5/16 in.)

    Accession Number

    36.418

    Medium or Technique

    Pen and brown ink on paper

    Not On View

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  • The Trinity

    1515
    Albrecht Dürer (German, 1471–1528)

    Description

    Four years after making a woodcut of “The Holy Trinity,” Dürer redrew the central group of his composition, presumably for his own instruction and pleasure. In the drawing, the relationship between God the Father and the dead Christ is more tender than in the print.

    Provenance

    Otto Gutekunst, London; from whom purchased by the MFA, Boston (Accession date: October 8, 1936)

    Credit Line

    1931 Purchase Fund and Anna Mitchell Richards Fund

    Details

    Catalogue Raisonné

    Winkler 583

    Dimensions

    Overall: 29.7 x 21.7cm (11 11/16 x 8 9/16in.) Framed: 56.2 x 47 x 3.3 cm (22 1/8 x 18 1/2 x 1 5/16 in.)

    Accession Number

    36.418

    Medium or Technique

    Pen and brown ink on paper

    Not On View

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  • The Trinity

    1515
    Albrecht Dürer (German, 1471–1528)

    Description

    Four years after making a woodcut of “The Holy Trinity,” Dürer redrew the central group of his composition, presumably for his own instruction and pleasure. In the drawing, the relationship between God the Father and the dead Christ is more tender than in the print.

    Provenance

    Otto Gutekunst, London; from whom purchased by the MFA, Boston (Accession date: October 8, 1936)

    Credit Line

    1931 Purchase Fund and Anna Mitchell Richards Fund

    Details

    Catalogue Raisonné

    Winkler 583

    Dimensions

    Overall: 29.7 x 21.7cm (11 11/16 x 8 9/16in.) Framed: 56.2 x 47 x 3.3 cm (22 1/8 x 18 1/2 x 1 5/16 in.)

    Accession Number

    36.418

    Medium or Technique

    Pen and brown ink on paper

    Not On View

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  • The Trinity

    1515
    Albrecht Dürer (German, 1471–1528)

    Description

    Four years after making a woodcut of “The Holy Trinity,” Dürer redrew the central group of his composition, presumably for his own instruction and pleasure. In the drawing, the relationship between God the Father and the dead Christ is more tender than in the print.

    Provenance

    Otto Gutekunst, London; from whom purchased by the MFA, Boston (Accession date: October 8, 1936)

    Credit Line

    1931 Purchase Fund and Anna Mitchell Richards Fund

    Details

    Catalogue Raisonné

    Winkler 583

    Dimensions

    Overall: 29.7 x 21.7cm (11 11/16 x 8 9/16in.) Framed: 56.2 x 47 x 3.3 cm (22 1/8 x 18 1/2 x 1 5/16 in.)

    Accession Number

    36.418

    Medium or Technique

    Pen and brown ink on paper

    Not On View

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  • Saint Jerome by the Pollard Willow

    1512
    Albrecht Dürer (German, 1471–1528)

    Description

    In the fourth century A.D., Saint Jerome renounced his passion for ancient Greek and Latin literature in favor of the Bible and an ascetic, Christian life. He spent many years translating the Old and New Testaments into Latin, and Dürer shows him in a mood of intellectual and religious intensity, seated with his books in a harsh landscape. The lion sleeping at his feet became his lifelong companion after Saint Jerome pulled a thorn from the animal’s paw.

    Dürer excelled in the uncommon medium of drypoint, in which a sharp metal instrument is used to scratch lines directly into the copper plate from which the image will be printed. This process raises, along the incised line, a ragged edge of copper called burr that holds ink and thus gives softness and depth to the print’s tonal range. Because the burr is very delicate and usually wears away after fewer than twenty printings of the plate, drypoint impressions of this superb quality are extremely rare.

    Markings

    no visible watermark

    Provenance

    Waldburg Wolfegg princely collection (Lugt 2542); May 27-29, 1903, Waldburg Wolfegg sale, part III, Gutekunst, Stuttgart, probably lot 200. 1937, Richard H. Zinser (dealer; b. 1884 - d. 1984), New York; 1937, sold by Zinser to the MFA. (Accession Date: December 9, 1937)

    Credit Line

    Anna Mitchell Richards Fund

    Details

    Catalogue Raisonné

    Bartsch (intaglio) 059; Meder 58, II, a Michelozzi state IIIa of V

    Dimensions

    Platemark: 20.8 x 18.5 cm (8 3/16 x 7 5/16 in.)

    Accession Number

    37.1296

    Medium or Technique

    Drypoint

    Not On View

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  • Saint Jerome by the Pollard Willow

    1512
    Albrecht Dürer (German, 1471–1528)

    Description

    In the fourth century A.D., Saint Jerome renounced his passion for ancient Greek and Latin literature in favor of the Bible and an ascetic, Christian life. He spent many years translating the Old and New Testaments into Latin, and Dürer shows him in a mood of intellectual and religious intensity, seated with his books in a harsh landscape. The lion sleeping at his feet became his lifelong companion after Saint Jerome pulled a thorn from the animal’s paw.

    Dürer excelled in the uncommon medium of drypoint, in which a sharp metal instrument is used to scratch lines directly into the copper plate from which the image will be printed. This process raises, along the incised line, a ragged edge of copper called burr that holds ink and thus gives softness and depth to the print’s tonal range. Because the burr is very delicate and usually wears away after fewer than twenty printings of the plate, drypoint impressions of this superb quality are extremely rare.

    Markings

    no visible watermark

    Provenance

    Waldburg Wolfegg princely collection (Lugt 2542); May 27-29, 1903, Waldburg Wolfegg sale, part III, Gutekunst, Stuttgart, probably lot 200. 1937, Richard H. Zinser (dealer; b. 1884 - d. 1984), New York; 1937, sold by Zinser to the MFA. (Accession Date: December 9, 1937)

    Credit Line

    Anna Mitchell Richards Fund

    Details

    Catalogue Raisonné

    Bartsch (intaglio) 059; Meder 58, II, a Michelozzi state IIIa of V

    Dimensions

    Platemark: 20.8 x 18.5 cm (8 3/16 x 7 5/16 in.)

    Accession Number

    37.1296

    Medium or Technique

    Drypoint

    Not On View

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  • Saint Jerome by the Pollard Willow

    1512
    Albrecht Dürer (German, 1471–1528)

    Description

    In the fourth century A.D., Saint Jerome renounced his passion for ancient Greek and Latin literature in favor of the Bible and an ascetic, Christian life. He spent many years translating the Old and New Testaments into Latin, and Dürer shows him in a mood of intellectual and religious intensity, seated with his books in a harsh landscape. The lion sleeping at his feet became his lifelong companion after Saint Jerome pulled a thorn from the animal’s paw.

    Dürer excelled in the uncommon medium of drypoint, in which a sharp metal instrument is used to scratch lines directly into the copper plate from which the image will be printed. This process raises, along the incised line, a ragged edge of copper called burr that holds ink and thus gives softness and depth to the print’s tonal range. Because the burr is very delicate and usually wears away after fewer than twenty printings of the plate, drypoint impressions of this superb quality are extremely rare.

    Markings

    no visible watermark

    Provenance

    Waldburg Wolfegg princely collection (Lugt 2542); May 27-29, 1903, Waldburg Wolfegg sale, part III, Gutekunst, Stuttgart, probably lot 200. 1937, Richard H. Zinser (dealer; b. 1884 - d. 1984), New York; 1937, sold by Zinser to the MFA. (Accession Date: December 9, 1937)

    Credit Line

    Anna Mitchell Richards Fund

    Details

    Catalogue Raisonné

    Bartsch (intaglio) 059; Meder 58, II, a Michelozzi state IIIa of V

    Dimensions

    Platemark: 20.8 x 18.5 cm (8 3/16 x 7 5/16 in.)

    Accession Number

    37.1296

    Medium or Technique

    Drypoint

    Not On View

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  • Saint Jerome by the Pollard Willow

    1512
    Albrecht Dürer (German, 1471–1528)

    Description

    In the fourth century A.D., Saint Jerome renounced his passion for ancient Greek and Latin literature in favor of the Bible and an ascetic, Christian life. He spent many years translating the Old and New Testaments into Latin, and Dürer shows him in a mood of intellectual and religious intensity, seated with his books in a harsh landscape. The lion sleeping at his feet became his lifelong companion after Saint Jerome pulled a thorn from the animal’s paw.

    Dürer excelled in the uncommon medium of drypoint, in which a sharp metal instrument is used to scratch lines directly into the copper plate from which the image will be printed. This process raises, along the incised line, a ragged edge of copper called burr that holds ink and thus gives softness and depth to the print’s tonal range. Because the burr is very delicate and usually wears away after fewer than twenty printings of the plate, drypoint impressions of this superb quality are extremely rare.

    Markings

    no visible watermark

    Provenance

    Waldburg Wolfegg princely collection (Lugt 2542); May 27-29, 1903, Waldburg Wolfegg sale, part III, Gutekunst, Stuttgart, probably lot 200. 1937, Richard H. Zinser (dealer; b. 1884 - d. 1984), New York; 1937, sold by Zinser to the MFA. (Accession Date: December 9, 1937)

    Credit Line

    Anna Mitchell Richards Fund

    Details

    Catalogue Raisonné

    Bartsch (intaglio) 059; Meder 58, II, a Michelozzi state IIIa of V

    Dimensions

    Platemark: 20.8 x 18.5 cm (8 3/16 x 7 5/16 in.)

    Accession Number

    37.1296

    Medium or Technique

    Drypoint

    Not On View

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  • Bearing of the Cross (Large Passion)

    1498–99
    Albrecht Dürer (German, 1471–1528)

    Description

    In Dürer’s era and afterward, the tonal and textural variations achieved in a black-and-white woodcut through hatching and cross-hatching satisfied many collectors. Others, however, prefer colored impressions, such as this one completed in watercolor with touches of gold by a professional illuminator of Dürer’s time. It has the appearance of a small painting or illuminated manuscript.

    Signed

    lower center: [Dürer's monogram]

    Markings

    watermark: flower and triangle (M.127)

    Provenance

    Earl of Pembroke collection. Tomás Harris (b. 1908 - d. 1964), London. 1968, sold by P & D Colnaghi & Co., London, to the MFA. (Accession Date: June 12, 1968)

    Credit Line

    Museum purchase with funds by exchange from a gift of the Estate of George R. Nutter

    Details

    Catalogue Raisonné

    Bartsch (relief) 010; Meder 119, 1511 edition with Latin text, contemporary hand coloring

    Dimensions

    Block: 39.7 x 28.5 cm (15 5/8 x 11 1/4 in.) Sheet: 40 x 28.8 cm (15 3/4 x 11 5/16 in)

    Accession Number

    68.275

    Medium or Technique

    Woodcut, hand-colored with watercolor and gilding

    Not On View

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  • Bearing of the Cross (Large Passion)

    1498–99
    Albrecht Dürer (German, 1471–1528)

    Description

    In Dürer’s era and afterward, the tonal and textural variations achieved in a black-and-white woodcut through hatching and cross-hatching satisfied many collectors. Others, however, prefer colored impressions, such as this one completed in watercolor with touches of gold by a professional illuminator of Dürer’s time. It has the appearance of a small painting or illuminated manuscript.

    Signed

    lower center: [Dürer's monogram]

    Markings

    watermark: flower and triangle (M.127)

    Provenance

    Earl of Pembroke collection. Tomás Harris (b. 1908 - d. 1964), London. 1968, sold by P & D Colnaghi & Co., London, to the MFA. (Accession Date: June 12, 1968)

    Credit Line

    Museum purchase with funds by exchange from a gift of the Estate of George R. Nutter

    Details

    Catalogue Raisonné

    Bartsch (relief) 010; Meder 119, 1511 edition with Latin text, contemporary hand coloring

    Dimensions

    Block: 39.7 x 28.5 cm (15 5/8 x 11 1/4 in.) Sheet: 40 x 28.8 cm (15 3/4 x 11 5/16 in)

    Accession Number

    68.275

    Medium or Technique

    Woodcut, hand-colored with watercolor and gilding

    Not On View

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  • Bearing of the Cross (Large Passion)

    1498–99
    Albrecht Dürer (German, 1471–1528)

    Description

    In Dürer’s era and afterward, the tonal and textural variations achieved in a black-and-white woodcut through hatching and cross-hatching satisfied many collectors. Others, however, prefer colored impressions, such as this one completed in watercolor with touches of gold by a professional illuminator of Dürer’s time. It has the appearance of a small painting or illuminated manuscript.

    Signed

    lower center: [Dürer's monogram]

    Markings

    watermark: flower and triangle (M.127)

    Provenance

    Earl of Pembroke collection. Tomás Harris (b. 1908 - d. 1964), London. 1968, sold by P & D Colnaghi & Co., London, to the MFA. (Accession Date: June 12, 1968)

    Credit Line

    Museum purchase with funds by exchange from a gift of the Estate of George R. Nutter

    Details

    Catalogue Raisonné

    Bartsch (relief) 010; Meder 119, 1511 edition with Latin text, contemporary hand coloring

    Dimensions

    Block: 39.7 x 28.5 cm (15 5/8 x 11 1/4 in.) Sheet: 40 x 28.8 cm (15 3/4 x 11 5/16 in)

    Accession Number

    68.275

    Medium or Technique

    Woodcut, hand-colored with watercolor and gilding

    Not On View

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  • Bearing of the Cross (Large Passion)

    1498–99
    Albrecht Dürer (German, 1471–1528)

    Description

    In Dürer’s era and afterward, the tonal and textural variations achieved in a black-and-white woodcut through hatching and cross-hatching satisfied many collectors. Others, however, prefer colored impressions, such as this one completed in watercolor with touches of gold by a professional illuminator of Dürer’s time. It has the appearance of a small painting or illuminated manuscript.

    Signed

    lower center: [Dürer's monogram]

    Markings

    watermark: flower and triangle (M.127)

    Provenance

    Earl of Pembroke collection. Tomás Harris (b. 1908 - d. 1964), London. 1968, sold by P & D Colnaghi & Co., London, to the MFA. (Accession Date: June 12, 1968)

    Credit Line

    Museum purchase with funds by exchange from a gift of the Estate of George R. Nutter

    Details

    Catalogue Raisonné

    Bartsch (relief) 010; Meder 119, 1511 edition with Latin text, contemporary hand coloring

    Dimensions

    Block: 39.7 x 28.5 cm (15 5/8 x 11 1/4 in.) Sheet: 40 x 28.8 cm (15 3/4 x 11 5/16 in)

    Accession Number

    68.275

    Medium or Technique

    Woodcut, hand-colored with watercolor and gilding

    Not On View

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  • Resurrection (Large Passion)

    1510
    Albrecht Dürer (German, 1471–1528)

    Description

    Markings

    watermark: Monogram of Mary

    Provenance

    Fischer Collection; Francis Bullard (1862-1913), Boston (Lugt 982); bequest to MFA February 1913

    Credit Line

    Bequest of Francis Bullard, 1913

    Details

    Catalogue Raisonné

    Bartsch (relief) 015; Meder 124, before the text edition

    Dimensions

    Block: 39.1 x 27.7 cm (15 3/8 x 10 7/8 in.)

    Accession Number

    M24878

    Medium or Technique

    Woodcut

    Not On View

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    Prints

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  • Resurrection (Large Passion)

    1510
    Albrecht Dürer (German, 1471–1528)

    Description

    Markings

    watermark: Monogram of Mary

    Provenance

    Fischer Collection; Francis Bullard (1862-1913), Boston (Lugt 982); bequest to MFA February 1913

    Credit Line

    Bequest of Francis Bullard, 1913

    Details

    Catalogue Raisonné

    Bartsch (relief) 015; Meder 124, before the text edition

    Dimensions

    Block: 39.1 x 27.7 cm (15 3/8 x 10 7/8 in.)

    Accession Number

    M24878

    Medium or Technique

    Woodcut

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Prints

    More Info
  • Resurrection (Large Passion)

    1510
    Albrecht Dürer (German, 1471–1528)

    Description

    Markings

    watermark: Monogram of Mary

    Provenance

    Fischer Collection; Francis Bullard (1862-1913), Boston (Lugt 982); bequest to MFA February 1913

    Credit Line

    Bequest of Francis Bullard, 1913

    Details

    Catalogue Raisonné

    Bartsch (relief) 015; Meder 124, before the text edition

    Dimensions

    Block: 39.1 x 27.7 cm (15 3/8 x 10 7/8 in.)

    Accession Number

    M24878

    Medium or Technique

    Woodcut

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Prints

    More Info
  • Resurrection (Large Passion)

    1510
    Albrecht Dürer (German, 1471–1528)

    Description

    Markings

    watermark: Monogram of Mary

    Provenance

    Fischer Collection; Francis Bullard (1862-1913), Boston (Lugt 982); bequest to MFA February 1913

    Credit Line

    Bequest of Francis Bullard, 1913

    Details

    Catalogue Raisonné

    Bartsch (relief) 015; Meder 124, before the text edition

    Dimensions

    Block: 39.1 x 27.7 cm (15 3/8 x 10 7/8 in.)

    Accession Number

    M24878

    Medium or Technique

    Woodcut

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Prints

    More Info

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