Albrecht Dürer, ‘The Virgin and Child crowned by two Angels (B. 39; M., Holl. 38; S.M.S. 84)’, 1518, Christie's Old Masters

Engraving, 1518, without watermark, a fine, silvery Meder a-b impression, printing very clearly, with a light plate tone, with approximately 3 mm. margins on all sides, in excellent condition.

After the Virgin and Child seated by the Wall (B. 40; M. 36), engraved in 1514, four years passed before Dürer again took up the subject of the Virgin and Child seated in a landscape. While the former had a slightly nervous, perhaps even disturbing quality, the present work sees a return to a more idyllic, sunny and conservative form. The motif of the two angels first appears in the etching of the Sudarium held by two Angels (B. 25; M., Holl. 26). He also used it in the same context, in the same year as the present work, in a woodcut, The Virgin and Child surrounded by many Angels (B. 101; M. 211).

S.S. Rosenstamm (1860-circa 1919), New York (L. 2839); his sale, American Art Galleries, New York, 27 January 1920, lot 59.

About Albrecht Dürer

Considered one of the foremost artists of the Renaissance period, Albrecht Dürer’s extensive work in printmaking transformed the categorization of the medium from craft to fine art. Often depicting religious subjects, Dürer’s woodcuts and engravings demonstrated unprecedented technical skill, tonal variation, and compositional sophistication. Dürer theorized extensively on linear perspective and anatomical proportion, concerns that were articulated in a vast body of written work as well as in his paintings and prints. Dürer’s skill earned him the role of court artist for Holy Roman Emperors Maximilian I and Charles V, under whom he created a number of paintings and altarpieces. Dürer’s series of self-portraits, created throughout his career, represent some of his most iconic works.

German, 1471-1528, Nuremberg, Germany, based in Nuremberg, Germany