All on back of panel: In pencil, u.l.: 4 u.r.: 3 Top center, typed label: UBALDO GANDOLFI / "St. Andrew" Bottom center, Agnew sticker: Thos. Agnew & Sons Ltd. / Nß 29616 / LONDON, / 43, Old Bond Street, Piccadilly, W.
This woodcut print is vertically oriented. The upper half of the piece is celestial with an angel standing on a cloud blowing a trumpet. Men on fire-breathing beasts exit from the clouds. At the very top center, a white-bearded figure, shown from the torso to the head, holds four trumpets. Rays emanate from his head to form a halo, and he is framed in a half circle. Directly below him is an altar with vines on the sides and four child-faces spitting water out. The upper right corner features an angel blowing a trumpet and the upper left features a smiling angel with hands clasped in prayer. The lower half of the print is terrestrial and depicts a chaotic battle scene. Four angels with wings and swords attack a crowd of men, including a pope, a bishop and a king, as well as commoners. These figures are all crowded into the foreground with contorted postures. There is a city on a hill visible in the distance. The center bottom has Dürer’s signature of letter "D" contained within a letter "A".
This print is one of 15 woodcuts by Dürer that depicted scenes of the Apocalypse as described by John the Apostle in the Book of Revelations of the New Testament in the Bible (Revelations 9:13-21). Here, following the sounding of the sixth trumpet, four angels were released to kill a third of mankind. Dürer has followed the wording of the text closely, including the four-cornered altar, the trumpeting angel and the horse and riders in the upper (heavenly) section of the work. But, it is in the earthly realm, in the lower section, that he dramatically portrays the death and destruction of mankind described by John. Four warrior angels stand, swinging their swords, amidst dead and fallen figures of men with looks of horror as they are slain.
This small black and white engraving depicts a half-length portrait of a woman seated and cloaked in drapery who is attending to and two young boys. The woman supports the boy who looks out toward the viewer while both boys reach toward a plate of fruit resting on the woman’s arm in the center of the composition. The figures are arranged against a black backdrop with a raised curtain framing them at the top and at the upper left.
Three grief-striken figures lament over the body of a dead man lying on the ground before them. One of these figures, a robed woman who clasps her hands in agony, leans forward to peer into the face of the dead man, who is rendered with dramatic foreshortening. To the left of this woman sits a long-haired man wiping his eyes while another woman with wild unkempt hair seated next to him raises her arms in abject sorrow. Three nails and a pair of vessels sit in the immediate foreground next to the artist's initials "HGB."
This woodcut print depicts the Virgin Mary, St. John the Evangelist, and Mary Magdalene lamenting over the body of Christ at the foot of the cross. The Virgin, with her cowl drawn over her head, leans over Christ's body, while John and the Magdalene, wild with grief, sit behind her. The posts of the three crosses and a ladder as well as the feet of the two criminals executed with Christ appear behind this dramatic knot of figures. The nails driven through Christ's hands and feet sit prominently alongside two vessels in the foreground.
This manuscript leaf contains a single column of text in Latin surrounded by generous margins on three sides. Pen-flourished initials elaborated with delicate penwork, colored red and blue alternating with gold and purple, mark the beginning of each verse along the left edge of the text column. Five line-fillers, long linear elements colored blue and gold, complete the closing line of each verse and preserve the regular shape of the text block.
This manuscript page, which contains a portion of Psalm 26, comes from either a psalter, a book containing only the biblical psalms, or a book of hours, a type of personal devotional manuscript that enjoyed widespread popularity from the thirteenth through fifteenth centuries and contained sets of daily prayers that often included psalms. The delicate and understated decoration of this page structures the text by emphasizing the beginning and end of each verse, while also creating a sense of rhythm and visual balance.