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Spaightwood Galleries
Albrecht Durer: Miscellaneous Images
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St John before God and the Elders (Bartsch 63, Strauss 43, Meder 166). Original woodcut, c. 1496 for The Apocalypse. The work draws details from Revelations 4 to 5: 1-8. Ours is a good impression from the 1511 Latin text edition (which was better printed than the 1498 Latin or German editions) with the High Tower watermark (Briquet 15.863, c. 1475). Several expertly repaired tears visible only from the verso. Faint stains on the left door that has just swung open to reveal the Divine Presence. A good strong impression of this important early work. Strauss (Woodcuts, 153) notes that Durer's Apocalypse was the first book conceived, illustrated, and published by an artist. The two worlds of the woodcut—the earthly landscape and the heavenly scene revealed to the eyes of the Saint and the artist—exist on entirely different planes, and the heavenly one is by far the more striking. Perhaps the foundation for Durer's success in this series, as Strauss notes (p. 154), is that "he succeeded in a new and phenomenal way in creating a feeling of the Mysterium, an awe-filled awareness of the limitations of man's understanding." One of Durer's most desirable images. 392x277mm. Price: SOLD.
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Coat of arms with a skull (Bartsch 101, Strauss 40). Original engraving, 1503. A good early 16th-century impression, trimmed just outside the border on all sides. Stain lower right, repaired tears upper right and center left, not affecting image. Panofsky calls this a very rare and beautiful image. It was probably done as a marriage print. One of Durer's most desirable images. 218x156mm. Price: SOLD
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Coat of arms with Lion and Rooster (B. 100, S. 31). Original engraving, c. 1500-1503. A good dark Meder b-c impression (c. 1520-1550). Strauss, Intaglio Prints of Albrecht Durer, p. 96, notes that Durer used paper with the Small jug watermark typical of Meder b impressions to print later impressions of this engraving. Durer's Netherlands Travel Diary notes that he gave an impression of this print to King Christian of Denmark in Antwerp in 1521). Trimmed on the platemark, with thread margins outside the black border line. Panofsky suggests that the rooster is present because it is the only animal capable of frightening the lion. Ex-collection J. Peoli (Lugt 2020, verso) and the Metropolitan Museum of Art (Lugt supplement 1808h, verso). One of Durer's most desirable images. 285x120mm. Price: SOLD.
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Coat of arms with Lion and Rooster (verso). Collector's stamps of J. Peoli (Lugt 2020, verso) and the Metropolitan Museum of Art (Lugt supplement 1808h, verso) visible. This piece entered the Metropolitan as part of the Walters Collection; it was later sold at auction when the Met obtained a better impression.
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Hercules conquering the Molionide Twins (B. 127, S. 32, M. 238c). Original woodcut, c. 1496. One of Dürer's earliest major prints and his only woodcut with a mythological theme. According to Strauss, the twin sons of Molione, Eurytsu and Kteatus, "were joined and their combined bodily strength exceeded that of any human." The twins (sons of Acter & Moline) were joined at the hip. Strauss adds that "Hercules is wearing a boar's skin because this event took place before the slaying of the Nemean lion (who can be seen in the background crossing the hilltowards the left right next to the little tree. This is one of Dürer's most dramatic prints. A 17th century impression showing considerable wear, but the impression is well printed on dark laid paper and still quite powerful. Image size: 393x282mm. Price: $6000.
We also have an ealier impression of this print on white laid paper. Image size: 393x282mm. Price: $7000.
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Cardinal Albrecht of Brandenburg (B. 103, S. 97, M.101). Original engraving, 1523. In 1523 Durer sent a letter to the Cardinal inquiring whether he had received the 500 impressions of the portrait and the engraving copper plate that Durer had sent. Consequently there are many good evenly printed impressions of this print still surviving. There are also at least three poor imitations of Durer's engraving by other artists, suggesting that it was very popular. Handling creases upper corners. Image size: 174x120mm. Price: $6,600.
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Willibald Pirckheimer (B. 106, S. 102). Original engraving, 1524. A good later impression on laid paper with an Augsburg watermark. Pirckheimer, a Nurenberg humanist, was Durer's lifelong friend. Our impression show 4 small holes, one below Pirckheimer's hair on his right cheek, one to the right of the back of his head, the other two close to the bottom center below the text. Repaired tear center. Image size: 184x113mm. Price: $4850.
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Willibald Pirckheimer (B. 106, S. 102), verso. Original engraving, 1524. A good later impression on laid paper with an Augsburg watermark.
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Frederick the Wise, Elector of Saxony (B. 104, S. 101). Engraving after Durer, after 1524. A good impression on laid paper. Barsch describes our engraving as a "deceptive copy by an anonymous engraver." Duke Frederick was Durer's first patron and protected Luther after the Diet of Worms condemned him. The description describes the Duke as "Sacred to Christ" and adds that he "favored the word of God with great piety." Printer's crease left side. Laid down on wove paper. Image size: 150x94mm. Price: $1250.
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Jan Wierix, Rustic Couple (M-H 1705). Engraving after Durer after 1565. Wierix's copy after Durer's c. 1497 engraving (which Panofsky suggests may be related to Durer's woodcuts for Das Narrenschiff). The first state is signed I.H.W. AE 17; in the second state, Wierix's monogram was polished out and Durer's added. Published by Cornelis Visscher Image size: 106x70mm. Price: $1075
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The Peasant and His Wife at Market (B. 89). Engraving after Durer after 1519. A good 16th c. impression on laid paper. The artist reversed the D in the monogram and omitted the date. One of the most copied of Durer's engravings (in 1827 Heller counted 15 copies), suggesting that it was a very popular image. Trimmed inside the platemark. Image size: 123x78mm. Price: $975
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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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