DÜRER, Albrecht (1471-1528). [The Engraved Passion. 1508-1513.
DÜRER, Albrecht (1471-1528). [The Engraved Passion. 1508-1513.] The complete suite of 16 engravings of Dürer’s The engraved Passion . Overall in rich, early impressions. Dürer began work on the Engraved Passion when he returned to Nuremberg from Venice in 1507. The series is distinguished by a new style, where the fineness and systematic use of engraved lines model the forms in terms of light and shade. There is an increased working of the plates, with less area left blank. The images are characterized by a complexity of form and expressiveness of the figures which, together with the strong light effects, create a highly dramatic atmosphere. The engraved Passion emphasizes spiritual suffering, as opposed to the stress of physical torture, as in the woodcuts of The small Passion . The eighth image, “Ecce Homo,” is described by Winkler as “a new high point … the experimental renderings of the Green Passion and the small woodcut Passion, which came before, were, as can now be seen, misguided” (p.233). The final engraving is outside the proper scope of the Passion and was often omitted from old bound copies. It can be assumed that Dürer intended to continue with further subjects. Meder, Dürer-Katalog , Vienna, 1932, nos. 3-18. 16 engravings, each about 116 x 73mm on 120 x 76mm sheets with corners slightly clipped (outside of plate marks), tipped on left edges to mounts, interleaved and bound in 207 x 142mm album. Engravings comprise: Man of Sorrows. M. 3. Fragment of High crown watermark (light surface soiling); Agony in the Garden. M. 4; Betrayal of Christ. M. 5; Christ Before Caiaphas. M. 6; Christ Before Pilate. M. 7; Flagellation. M. 8; Christ Crowned with Thorns. M. 9; Ecce Homo. M. 10; Pilate Washing his Hands. M. 11; Bearing of the Cross. M. 12; Crucifixion. M. 13; Lamentation of Christ. M. 14. Fragment of a bull’s head watermark; The Entombment. M. 15; Harrowing of Hell. M. 16; Resurrection. M. 17; St. Peter and St. John Healing the Cripple. M. 18. Most are Meder a or b impressions. Modern black morocco stamped in blind including Dürer’s monogram on both covers, spine gilt-lettered, edges and turn-ins gilt, by Chambolle-Duru. Provenance : Emil Schröder, Dresden (his collector’s mark on the verso of each print, see Lugt 2270); Edouard Rahir (bookplate).
DÜRER, Albrecht (1471-1528). [The Engraved Passion. 1508-1513.
DÜRER, Albrecht (1471-1528). [The Engraved Passion. 1508-1513.] The complete suite of 16 engravings of Dürer’s The engraved Passion . Overall in rich, early impressions. Dürer began work on the Engraved Passion when he returned to Nuremberg from Venice in 1507. The series is distinguished by a new style, where the fineness and systematic use of engraved lines model the forms in terms of light and shade. There is an increased working of the plates, with less area left blank. The images are characterized by a complexity of form and expressiveness of the figures which, together with the strong light effects, create a highly dramatic atmosphere. The engraved Passion emphasizes spiritual suffering, as opposed to the stress of physical torture, as in the woodcuts of The small Passion . The eighth image, “Ecce Homo,” is described by Winkler as “a new high point … the experimental renderings of the Green Passion and the small woodcut Passion, which came before, were, as can now be seen, misguided” (p.233). The final engraving is outside the proper scope of the Passion and was often omitted from old bound copies. It can be assumed that Dürer intended to continue with further subjects. Meder, Dürer-Katalog , Vienna, 1932, nos. 3-18. 16 engravings, each about 116 x 73mm on 120 x 76mm sheets with corners slightly clipped (outside of plate marks), tipped on left edges to mounts, interleaved and bound in 207 x 142mm album. Engravings comprise: Man of Sorrows. M. 3. Fragment of High crown watermark (light surface soiling); Agony in the Garden. M. 4; Betrayal of Christ. M. 5; Christ Before Caiaphas. M. 6; Christ Before Pilate. M. 7; Flagellation. M. 8; Christ Crowned with Thorns. M. 9; Ecce Homo. M. 10; Pilate Washing his Hands. M. 11; Bearing of the Cross. M. 12; Crucifixion. M. 13; Lamentation of Christ. M. 14. Fragment of a bull’s head watermark; The Entombment. M. 15; Harrowing of Hell. M. 16; Resurrection. M. 17; St. Peter and St. John Healing the Cripple. M. 18. Most are Meder a or b impressions. Modern black morocco stamped in blind including Dürer’s monogram on both covers, spine gilt-lettered, edges and turn-ins gilt, by Chambolle-Duru. Provenance : Emil Schröder, Dresden (his collector’s mark on the verso of each print, see Lugt 2270); Edouard Rahir (bookplate).
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