SHOPPING GUIDE 2020

Albrecht Dürer, The Presentation of Christ in the Temple (The Life of the Virgin) c. 1505

Artist: Albrecht Dürer (1471 - 1528)
Title:The Presentation of Christ in the Temple (The Life of the Virgin) c. 1505
Reference:[B. 88; K. 186; M. 200; H. 200; BB. 200]
Medium:Original Durer Woodcut
Image:11 7/8 in x 8 3/8 in (30.2 cm x 21.3 cm)
Sheet:12 in x 8 1/2 in (30.5 cm x 21.6 cm)
Framed:29 3/4 in x 26 in (75.6 cm x 66 cm)
Signature:Featuring the signature monogram of Albrecht Dürer (Nuremburg, 1471- Nuremburg, 1528) on a slate in the lower left of the image (see pillar)
Condition:In excellent condition, a bold, crisp impression
ID #w-2101

Historical Description

In this monumental piece, Dürer’s (Nuremburg, 1471- Nuremburg, 1528) remarkable architectural sense is even more revealed to his audience.  His use of various columns and recessed ceiling panels make way for an exercise in depth perception and execution.  His shading recalls that of many others in this series; stark contrasts in light and dark illuminate the vast room and help convey the crowded, bustling aura of the people who have come to watch this Presentation of Christ.

Created in c. 1505, this stunning woodcut features Albrecht Dürer’s (Nuremburg, 1471- Nuremburg, 1528) signature monogram on a slate in the lower left of the image which hangs from a small, detailed hook on the pillar in the foreground.  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) , “Almost overpowered by the monumental architecture, denoting the weightiness of the Old Law, Joseph and Mary present the infant Christ in the Temple of Jerusalem.  The child is held by Simeon, while the prophetess Hannah points her finger.  The Virgin child is held by Simeon, while the prophetess Hannah points her finger.  The Virgin is offering a dove as sacrifice; Joseph is pictured very much as in the two preceding sheets.  Even more than in ‘The Circumcision,’ Dürer succeeds in drawing the beholder in the changer” (pg. 325-7)

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. Kurth, W. Dr. (1946) . The Complete Woodcuts of Albrecht Dürer. Listed as catalogue raisonné no. 184 and detailed on pg. 26.

2. Meder, J. (1932) . Dürer-Katalog. Listed as catalogue raisonné no. 200 on pg. 175.

3. Pawlak, M. Albrecht Dürer: 1471 bis 1528, Das gesamte Graphische Werk, Druckgraphik, Band II. Listed and illustrated as plate no. 1574.

4. 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. 200 on page 159.

5. Schoch, R. (2002) . Albrecht Dürer: Das druckgraphische Werk, Band II Holzschnitte und Holzschnittfolgen. Listed and illustrated as catalogue raisonné no. 178 on pg. 256-9.

6. Strauss, W. L. (1980) . Albrecht Dürer, Woodcuts and Wood Blocks. Listed and illustrated as catalogue raisonné no. 99 on pgs. 325-7.

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.’

 

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