Lot 205
Albrecht Durer (Hungarian-German, 1471-1528), "Doubting Thomas/Christ Appearing to the Apostles" woodcut, 1509-1510 CE. Signed "AD" in the block upper right. An even, dark, fine 16th century impression without text (a fine proof before the text and prior to the first edition of 1511) of Durer's woodcut of "Doubting Thomas" or "Christ Appearing to the Apostles" from Durer's "The Small Passion" - a cycle that the artist started following his second trip to Italy (1505-1507). The cycle includes 36 woodcuts and a cover page that together present a detailed narrative of the martyrdom and atonement of Jesus Christ, beginning with "The Fall", including the Passions as well as Old Testament stories associated with the sacrifice of the Savior and legends about the young Jesus. All the plates for The Small Passion, with the exception of the cover, are preserved in the British Museum in London. Size: 4.9" L x 3.8" W (12.4 cm x 9.7 cm); matted and framed 12" L x 10.25" W (30.5 cm x 26 cm)
The apostle Thomas, popularly known as Doubting Thomas in accordance with the story of the incredulity of Thomas (John 20:19-29) was absent when Christ first appeared miraculously to his disciples following his death and showed them his wounds. Thomas was told about this event, but refused to believe it until he had seen it himself. Christ reappeared when Thomas was with them and said to him, "Reach your finger here: see my hands; reach yoru hand here and put it into my side."
According to W. Strauss (1980), "Durer has pictured St. Thomas in the very act of placing two fingers into the Saviours wound. But the artist has gone a step further: Christs gesture visualizes his comment to Thomas: 'You have believed me because you have seen me? Blessed are those who have not seen, yet believe' (John 20:29 . . . . The suggestion has been made that Christs gesture derives from that in the engraving, 'Man of Sorrows with Hands Raised', but we prefer to think that the expressive pose was invented for this occasion. Christs nakedness is in stark contrast to the weightly robes of the doubting Thomas, perhaps to underscore his 'weighty concerns' (396)."
This work is referenced in the following catalogue raisonnes and texts:
Bartsch (1981). "The Illustrated Bartsch Vol. 10" edited by Walter L. Strauss. Abaris Books: New York. Listed and illustrated as catalogue raisonne no. 40.; Dr. Willi Kurth. "The Complete Woodcuts of Albrecht Durer" 1963. Listed as plate 255 and discussed on pp. 31-32.; Joseph Meder, "Durer-Katalog" (1932). Listed and illustrated as catalogue number 158.; Robert W. Scheller & Karel G. Boon, "The Graphic Art of Albrecht Durer, Hans Durer, and the Durer School" (1971), listed as catalogue no. 158.; R. Schoch et. al. (2002). "Albrecht Durer: Das druckgraphische Werk," Band II Holzshnitte und Holzschnittfolgen. Listed and illustrated as catalogue raisonne no. 219.; Walter L. Strauss, "Albrecht Durer Woodcuts and Wood Blocks," 1980. Listed as catalogue number 133.
Provenance: ex-Denenberg Fine Arts, Los Angeles, California, USA; ex-David Tunick, 1966
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#127484
- Condition: Trimmed just to the borders on three sides, and very slightly (1/16 of an inch) within bottom border. Small area of discoloration in the robe of Thomas. Archivally framed in acid-free mats.
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