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Spaightwood Galleries
Albrecht Durer's woodcuts for The Large Woodcut Passion
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Durer began the Large Passion c, 1496-97; Strauss thinks it quite possible that The Flagellation (Bartsch 8, Strauss 37),was the first print in the series. Over the next few years, Durer added six additional woodcuts, and the seven were sold as single sheets. Durer returned to the series c. 1510, adding 4 more woodcuts, and published the series with a frontispiece and a Latin text by Benedictus Chelidonius printed on the verso of the prints. Other works in the series include The Agony in the Garden (c. 1496-97, though possibly 1498: B. 6, S. 38), The Deposition of Christ (c. 1496-97: B. 12, S. 39), Ecce Homo (1498: B. 9, S. 58); The Bearing of the Cross (c. 1498-99: B. 10, S. 59), The Lamentation (c. 1498-99: B. 13, S. 60), The Crucifixion (c. 1498: B. 11, S. 61), The Last Supper (dated 1510: B. 5, S. 148); The Betrayal of Christ (dated 1510: B. 7, S. 149), The Harrowing of Hell (dated 1510: B. 14, S. 150), The Resurrection (dated 1510: B. 15, S. 151), Christ as the Man of Sorrows Mocked by a Soldier (c. 1511: B. 4, S. 157). Although The Trinity (dated 1511: B. 122, S. 164) was not bound up with the other sheets of the Large Passion, in size, in style, and in subject matter, it is one with the late sheets of the series. Durer interrupted his work on the Large Passion to work on his other great series, The Apocaplyse (c. 1498, republished with new works 1511) the Life of the Virgin (c. 1501-2, completed and published 1511), the Small Woodcut Passion (c. 1508-1510, published 1511), and the Engraved Passion (c. 1506-1510). The inventiveness shown in these related series can be quickly seen by comparing them: Durer was rarely content to simply repeat an approach that he had already tried.
Walter L. Strauss in his catalogue raisonne, Albrecht Durer Woodcuts and Woodblocks (Abaris Books, 1980), provides a summary of comments upon each individual work. Strauss's Commentary volume in the Illustrated Bartsch series updates his commentary here. As always, Panofsky's Life and Art of Albrecht Durer (Princeton University Press, 1945, revised editions culminating in the 1971 edition) is crucial for an understanding of the work of this great artist and printmaker.
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The Last Supper (Bartsch 5, Strauss 148, Meder 114c). Original woodcut, 1910. Ours is a good impression after the first edition in 1511 of the Large Woodcut Passion on laid paper with small margins outside the border and a Gothic P with A and small Crest (Briquet 8829) printed c. 1570 that Meder describes as "still good, black, a gap in the platter and dish foreground." Mounted on an archival support sheet; a good rich impression except for an ink stain to the right of Jesus's hand and over Judas' head. Image size: 395x287mm. Price: $8500.
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Christ on the Mount of Olives / The Agony in the Garden (B. 6, Strauss 38, M. 115c). Original woodcut, c. 1497-1500. One of Dürer's earliest major prints, this work was one of the first to reveal his genius. Originally made for Dürer's Large Woodcut Passion, this is one of Dürer's most dramatic prints. Trimmed just outside or on the borderline; short repaired tear right edge. Image size: 387x282mm. Price: SOLD.
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The betrayal of Christ (B. 7, S. 149, M., H. 116). Original woodcut, 1510 for the Large Woodcut Passion. Ours is a very good impression from the first published edition of 1511 with the Latin text on the verso (the 1511 edition is the only edition with the Latin text printed on the reverse). Strauss notes that Wölfflin considered this print the best solution to the problems posed by the subject. Wölfflin categorizes the printing of the 1511 edition as uneven (very dark on the right side, lighter on the left), as is ours. In the background left center, the young man Mark mention who avoided capture by running away with his clothes is visible; lower right, Peter is about to slice of the ear of the high priest's servant, which Jesus will then immediately restore. Signed in the block with the monogram and dated in the block top left. Borders showing on all sides. A few minor nicks and tears and a small missing area by Jesus' foot all expertly repaired. Image size: 395x277mm. Price: $14,500.
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The betrayal of Christ (B. 7, S. 149, M., H. 116). Original woodcut, 1510 for the Large Woodcut Passion. Our impression is from the first published edition of 1511. Strauss notes that Wölfflin considered this print the best solution to the problems posed by the subject. Wölfflin categorizes the printing of the 1511 edition as uneven, as is ours. Trimmed within margin right and bottom. Image size: 382x275mm. Price: SOLD.
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AFTER Durer, Ecce Homo (B. 9—copy). Woodcut after Durer, 1498-99. A very deceptive sixteenth-century copy of one of Durer's most powerful woodcuts (both this and its companion have been sold at auction as original Durer woodcuts. ). From the Large Woodcut Passion. A good impression in very good condition (except for missing corner top right) on heavy dark paper. Image size: 399x284mm. Price: $1850.
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AFTER Durer, Ecce Homo (B. 9—copy). Woodcut after Durer, 1498-99. A very deceptive sixteenth-century copy of one of Durer's most powerful woodcuts. From the Large Woodcut Passion. A good impression in very good condition on heavy dark paper. Image size: 399x284mm. Price: $1750.
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The Lamentation (B. 13, S. 60). Original woodcut, 1498-99. Executed in the late fifteenth century for the Large Woodcut Passion, our impression comes from the Augsburg edition of 1675. Repaired tears at margins. Image size: 392x283mm. Price: $6500.
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The Harrowing of Hell (B. 14, S. 150, M., H. 121). Original woodcut, signed in the block and dated 1510 on the ledge to the right of Jesus' head as he reaches down to pull John the Baptist out of the dungeons of Hell. According to Meder, some proofs before the 151l edition with Latin text verso and impressions from the 1511 edition have a small gap in the pole from which the banner of the resurrection flies; impressions after the 1511 edition show a 40mm (nearly two inch) gap. Since ours has a 2 mm gap and lacks the Latin text, it seems to be a proof before 1511: a very good dark impression with strong contrasts. There is a very elaborate watermark which I cannot identify. There is a horizontal fold visible from Eve's back on the left to Jeus's shoulder and another running from the ledge with the date. Image size: 395x279mm. Price: $17,500.
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The Resurrection (B. 15, S. 151, M. 124). Original woodcut, 1510. From the 1511 Latin edition of the Large Woodcut Passion, the first edition of the complete Large Woodcut Passion. Dated 1510 and signed in the block. Trimmed to the border. Panofsky says, "We have the impression that a magic carpet is lowered so as to invade our field of vision and to transfuse rather than overthrow the natural world." Image size: 390x270mm. Price: SOLD.
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The Resurrection (B. 15, S. 151, M. 124). Original woodcut, 1510. A fair Meder b impression after the 1511 Latin text edition trimmed on or just outside the margins. Panofsky says, "We have the impression that a magic carpet is lowered so as to invade our field of vision and to transfuse rather than overthrow the natural world." In the 15th century, Jesus is normally shown standing rather firmly on the liid of the stone; here, as Panofsky notes, he is shown in an indeterminate space neither solidly on the earth nor yet completely transcendant (as in Durer's Transfiguration, where he floats above the earth). One of the most important visionary prints of the Renaissance. Wormhole in Christ's abdomen, backed with thin laid paper. Image size: 390x279mm. Price: $15,000.
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The Holy Trinity (B. 122, Strauss 164) Original woodcut, 1511. Our impression is a Meder i on laid paper with a VB lion coat of arms. 2 thinned spots lower area verso. Wölfflin calls this “the most beautiful and grandiose woodcut of the epoch . . . unrivalled in its powers of invention.” Image size: 396x287mm. Price: SOLD.
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Spaightwood Galleries, Inc.
To purchase, call us at 1-800-809-3343 (508-529-2511 in Upton MA & vicinity) or send an email to sptwd@verizon.net. We accept AmericanExpress, DiscoverCard, MasterCard, and Visa.
For directions and visiting information, please call. We are, of course, always available over the web and by telephone (see above for contact information). Click the following for links to past shows and artists. For a visual tour of the gallery, please click here. For information about Andy Weiner and Sonja Hansard-Weiner, please click here. For a list of special offers currently available, see Specials.
Visiting hours: Saturday and Sunday noon to 6 pm and other times by arrangement. Please call to confirm your visit. Browsers and guests are welcome.
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