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In what is considered his first independent commission after concluding his apprenticeship, Durer contributed a number of woodcuts to one of the first European best sellers, Sebastian Brant’s Das Narrenschiff / The Ship of Fools, a humanist work in which wisdom condemns the follies she sees everywhere she looks. By Brant's death in 1521, six German editions with Latin texts had been published using Durer's original woodblocks; there were also seven pirated German editions using copies of Durer's woodcuts. There were also translations—none of which had access to Durer's woodcuts—printed in various modern languages. The Ship of Fools was first published in 1494 as the reform movement, begun in the North as an attempt to renew a rather corrupt church, was about to find its true leader, Erasmus, whose mock encomium, The Praise of Folly (1508), leaves us to wonder whether Wisdom should really condemn folly if Folly is actually condemning folly though her mock praises. Erasmus implies that if Wisdom reeally thought the issue through, she might well change her mind, since, as Folly reminds us, St Paul insists that the foollishness of God is wiser than the wisdom of man. Like Goya’s Caprichos, Durer’s works also illustrate human follies, but from a rather different perspective: unlike Goya, who forces us to see from the perspective of participants in the world’s follies, Durer, following Brant’s lead, invites us to play spectator from the perspective of Wisdom, to mock the fools who never manage to get it right rather than to realize that we too live in a world that always gets it wrong. Most of our impressions are from the 1511 edition (published in Strassburg by Johan Pruss using Durer's original blocks though at least one is from the 1497 edition); all are in remarkably good condition (especially considering that they were made before most of Europe even knew that Columbus had discovered what we like to think of as a "New World." (As Prospero, who remembered more of his and the world’s history, says to Miranda, when she, seeing a group of "goodly creatures" for the first time, hails the birth of a "brave new world": "’Tis new to thee.")

The first edition of The Ship of Fools contains 115 woodcuts. Walter L. Strauss in his catalogue raisonne, Albrecht Durer Woodcuts and Woodblocks, surveys the state of critical dispute about the number of pieces definitely created by Durer and not simply by others treying to imitate his accomplishments. Strauss and Panofsky are the most conservative; Winkler "who undertook the most thorough examination of the illustrations, concluded that seventy-three are by Durer." Others are still more inclusive. Wolfgang Hutt's Albrecht Durer 1471 bis 1528: Das gesampte graphische Werk: Druckgraphik (1970), assigns 74 of the woodcuts to Durer; Alain Borer and Ceceile Bon's L'Oeuvre Graphique de Albrecht Durer (1980; identified as "Borer" in the descriptions) prints 78 woodcuts as Durer's. For some reason, our scans are not nearly as crisp as the woodcuts themselves.