The Four Horseman

ALBRECHT DÜRER
Nürnberg 1471-1528 Nürnberg

Die apokalyptischen Reiter, 1498
The Four Horseman

Woodcut from The Apocalypse, Latin text edition of 1511
392 x 277 mm.; 15 1/2 x 10 7/8 inches

Watermark:
Dreieck mit sechblättrger Blume und zwei Querstrichen (Meder 127)

References:
Bartsch 64
Meder/Hollstein 167
Schoch, Mende, Scherbaum 115

Notes:

1. A fine impression from the Latin text edition of 1511.  The Dreieck mit sechblättrger Blume und zwei Querstrichen (Meder 127) is the paper usually used by Dürer for his 1511 woodcut impressions.
2. In this woodcut are portrayed the Four Apocalyptic Riders.  The first of these had the power to conquer, the second to take Peace from Mankind, the third to control the scales of Justice and the fourth, backed by Hell, controlled the power of Death.  Wolfflin has described this work (H. Wolfflin Die Kunst Albrecht Dürers, 1905 but also found in the Jubiläumsausgabe, Munich, 1963, page 68);

From the Four Riders who have been given the power to destroy a quarter of Mankind through Swords and Hunger and other forms of Death, Dürer has created this famous depiction of Destruction, racing across the world on the wings of the Wind.  Until this time, German art had not created a sense of movement and power comparable to that achieved by this image…

The Four Avenging Angels

ALBRECHT DÜRER
Nürnberg 1471-1528 Nürnberg

Die Engelkampf, 1496-98
The Four Avenging Angels

Woodcut from The Apocalypse, Latin text edition of 1511
394 x 283 mm; 15 1/2 x 11 1/8 inches

References:
Bartsch 69
Meder 171
Schoch, Mende & Scherbaum 119

Notes:

1. A very fine, strong impression from the Latin text edition of 1511.  This whole, extraordinarily striking scene is set above the Euphrates River with tiny ships just visible.
2. The Biblical text in Revelation 9:15 is:

“And the four angels were set free, they who were ready for the hour and the day and the month and the year, to kill a third part of mankind…”

The Rejection of Joachim’s Offering

ALBRECHT DURER
Nürnberg 1471 – 1528 Nürnberg

The Rejection of Joachim’s Offering, about 1503

Woodcut from the Life of the Virgin Series, Latin text edition of 1511
295 x 211 mm.; 11 1/2 x 8 1/8 inches

References:
Bartsch 77
Meder 189
Schoch, Mende & Scherbaum 167

Notes:

1. A fine, impression from the Latin text edition of 1511.
2. This scene takes place in the Temple of Jerusalem.  The Tablets of the Law are only partially visible.  These tablets, together with the crumbling walls and the burnt out candle, denote the demise of the Old Law.  Joachim’s offering was a lamb and a dove.  The lamb was the lamb of innocence, and was symbolic of the New Faith.  In this scene, in which Joachim’s offering is rejected, he is clearly disappointed.  The High Priest declined his sacrifice, stating that the long, childless marriage of Joachim and Anna must be the result of  sin.  It was not until sometime later that Mary was born.

The Annunciation

ALBRECHT DURER
Nürnberg 1471-1528 Nürnberg

Maria Verkündigung, about 1503
The Annunciation

Woodcut from the Life of Virgin series, Latin text edition of 1511
298 x 206 mm.; 11 5/8 x 8 1/8 inches

References:
Bartsch 83
Meder 195 II
Schoch, Mende & Scherbaum 173

Notes:

1. A fine, well-contrasted impression from the Latin text edition of 1511.
2. The Archangel Gabriel here announces glad tidings to the Virgin.  The dove, representing the Holy Spirit, illuminates the face of the Virgin, while God is seen in the distant clouds.  The lilies in the vase symbolize purity, while Judith, with the head of Holofernes in the tympanum above, reminds us of Mary’s victory over the devil.  Underneath the stairs and chained to the wall at far left, one sees a badger or evil one, standing for sloth or laziness, the characteristics to be associated with  “the mother of all sin”.

St. Jerome in His Cell

ALBRECHT DÜRER
Nürnberg 1471 – 1528 Nürnberg

Der heilige Hieronymus in der Zelle, 1511
St. Jerome in His Cell

Woodcut
236 x 160 mm.; 9 1/4 x 6 1/4 inches

References:
Bartsch 114
Meder 228b
Schoch, Mende & Scherbaum 229

Notes:

1. A very fine, strong, well contrasted impression.
2. St. Jerome (from about 347 to 419 or 420) had translated the Bible into Latin and was one of the greatest, early scholars.
3. This work, executed three years before the engraving of 1514 of the same subject, fits into a group of tonally treated woodcuts which Dürer executed between 1508-1509 and in 1511.  These woodcuts included the series The Small Passion, woodcuts added to the Three Large Books (“Die drei grossen Bücher”) published or re-published in 1511; the Apocalypse, the Large Passion and the Life of the Virgin, and finally only six single woodcuts including this St. Jerome in His Cell.

Virgin and Child with Pear

ALBRECHT DÜRER
Nürnberg 1471 – 1528 Nürnberg

Maria mit der Birne, 1511
Virgin and Child with Pear

Engraving
159 x 106 mm.; 6 1/4 x 4 3/16 inches

Watermark:
Anchor in Circle (Meder watermark 171)

References:
Bartsch 41
Meder 33a
Schoch, Mende & Scherbaum 63

Notes:

1. A fine, early, silvery impression.  On paper with an Anchor in Circle watermark (M. 171), dating the paper to about 1515.  This is the only paper indicated by Meder to correspond to “a” impressions.  In addition, the scratches on the forehead of the Child, corresponding to Meder “b” impressions are not yet visible.
2. This is one of Dürer’s most harmonious and successful engravings.  Thausing (Dürer, Geschichte seines Lebens und seiner Kunst, Leipzig, 1884, vol II, p. 62) felt that these works, together with the Madonna by the Tree, were the most beautiful of all of Dürer’s engraved Madonnas.