Albrecht Dürer
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Albrecht Dürer

The Rejection of Joachim's Offering, from: The Life of the Virgin

Details
Albrecht Dürer
The Rejection of Joachim's Offering, from: The Life of the Virgin
woodcut, circa 1504, on laid paper, watermark Bull's Head (M. 62), a fine proof impression before the text edition of 1511, with small margins, a few skilfully repaired short tears and thin spots with touches of pen and ink, otherwise in good condition
B., S. 297 x 213 mm.
Provenance
F. von Hagens (1817-1899), Dresden (L. 1052a), possibly from the set offered in his sale, C. G. Boerner, Leipzig, 2-3 May 1927 (9,500 M. for the set).
Literature
Bartsch 77; Meder, Hollstein 189; Schoch, Mende, Scherbaum 167
Special Notice
These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.

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Charlie Scott
Charlie Scott

Lot Essay

Lots 79-89 belong to a series of twenty woodcuts by Dürer devoted to episodes from the life of the Virgin Mary. The majority of the blocks date from the years 1502-05. However, it was not until 1510-11 that the final two plates and the title page were added. The complete book The Life of the Virgin was finally published in 1511 with Latin text by the Benedictine monk Benedictus Chelidonius from Nuremberg. Dürer dedicated it to Caritas Pirckheimer, sister of his great friend Willibald and abbess of the convent of Saint Clara in Nuremberg, and it was probably for the educated and refined women in the religious houses that the book was primarily intended. As with Dürer's other great cycles of woodcuts, The Apocalypse, Large Passion and Small Passion, impressions from the individual blocks were printed and sold as the blocks were completed, in some cases many years before publication. These early impressions, before the text was added on the reverse, are the rarest and most sought after, as the woodblocks are at their sharpest, before any cracking or damage to affect the integrity of the image. A number of fine early proofs before text are included in this collection.

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