List of paintings by Albrecht Dürer
The following is an incomplete list of paintings by the German painter and engraver Albrecht Dürer.
Legend for the table
[edit]The reproductions are coming for the most part from the online catalogues of the institution the work is held (or at least the best reproductions available on Wikimedia Commons). Articles at the beginning of some titles are dropped for better sortability. Paintings that belong together are not always joined, except for the occasional back sides of paintings. Secondary specifications are in small font. The original medium is mentioned first and stated as just "color", if there is no specific statement that the medium was actually proven to be oil; modifications that represent the current state are stated subsequently. In the case of Dürer the time spans are not likely to represent the duration spent working on the picture, instead usually signifies the (ideally most recent) estimated date by scholars for a work, that has no year stated by Dürer's own hand (usually with his monogram "AD") and/or decisive source. The small types under the date indicate at least some identification and are to be read as follows:
- d : original date by Dürer's hand on the panel at the time of the work's completion
- m : original monogram "AD" by Dürer's hand on the panel
- + : dated and signed with full name (with or without monogram), and additional text in German or Latin. Text and translation are quoted as reference.
- i : date and monogram with occasionally additional text veristically integrated into the picture (e. g. in form of a painted piece of written paper or a plate, often held by Dürer himself)
- p : preparatory drawings have survived
- w : sourced by Dürer's own writing or other trusted written testimony, like communal archives, letters by contemporaries or collection inventories, that scholars universally agree upon
- l : later dated, monogrammed or inscribed by Dürer's hand ("mlw" would mean no date, later monogram, documented by written sources)
- f : anything of a different hand than Dürer's of a (most probably always) later date (e. g. "dfwf" means later date and text by a foreign hand)
- c : authenticity challenged by several scholars and not yet invalided (e. g. "mcw" would mean the work is well sourced but the monogram seemed to be for some students not by Dürer's hand)
- — : not signed or referenced anywhere, still the attribution to Dürer solely on stylistical grounds is universally accepted ("—c" if challenged)
- c : not signed or referenced anywhere, however known through copies
For the current location the city is mentioned first, it is most unambiguous and allows to combine multiple galleries of that city. The gallery where the work is displayed is mentioned second, followed by the name of the actual superordinate collection owning the work (on first appearance in the list only). The inventory number of the object in brackets is (ideally) linked to the entry in the online catalogue of the collection if available. The last column gives the number of the catalogue raisonné of Dürer's paintings, which Fedja Anzelewsky, lifelong affiliated with the Kupferstichkabinett Berlin, compiled and published in 1971, and revised 20 years later. The legend for the four different capitals following the chronological numbering is as follows:
- K ("Kopie") only survived as copy
- V ("verschollen") for lost but known through writings
- Z ("Zeichnung") painting that only survived in drawings
- W ("Werkstatt") workshop painting
| Image | Title | Year | Medium | Dimensions h × w in cm |
Location, Gallery, Collection (Inv. nr.) |
CR nr. |
|---|---|---|---|---|---|---|
  |
Portrait of Dürer's Father diptych, right wing back side: Combined Coat of Arms of the Dürer and Holper Families |
1490 dmlwc[1] |
Oil on panel | 47.5 × 39.5 47 × 39 |
Florence, Uffizi (1086 (1890 post), 00286561) | 2–3 |
 |
Portrait of Barbara Dürer diptych, left wing back side: "Rocky Landscape with Dragon",[2] or "Hell resp. Purgatory scene"[3] |
1490 —w |
Oil on panel | 47.2 × 35.7 | Nuremberg, Germanisches Nationalmuseum, Bayerische Staatsgemäldesammlungen (Gm1160) | 4[4] 4.1[5] |
 |
The Miraculous Salvation of a Drowned Boy in Bregenz | 1497/98 —c[6] |
Color on panel (spruce) |
41.5 × 50 | Kreuzlingen (Switzerland), Heinz Kisters Collection (no website) | 5 |
.jpg)  |
Christ as the Man of Sorrows back side: "Agate cut or Lightvision"[7] |
c. 1493 — |
Oil, tempera and gilding on panel (pinewood) |
30 × 19 | Karlsruhe, Staatliche Kunsthalle[8] (2183) | 9 ∅ |
 |
Self-Portrait (Portrait of the Artist Holding a Thistle) | 1493 d+c[9] |
Oil on parchment transferred to canvas[10] | 56.5 × 44.5 | Paris, Musée du Louvre (RF 2382) | 10 |
 |
Jesus Child as Redeemer | 1493 dm[11] |
Bodycolor and gold on parchment | 11.8 × 9.3 | Vienna, Albertina ([1]) | 11 |
 |
Lion | 1494 dm[12] |
Bodycolor, watercolor on parchment | 12.6 × 17.2 | Hamburg, Kunsthalle (23005) | 12 |
 |
Virgin and Child before an Archway (Bagnacavallo Madonna) | c. 1495 — |
Oil on panel | 47.8 × 36.5 | Mamiano di Traversetolo near Parma, Magnani-Rocca Foundation (?) | 16 |
 |
Virgin and Child Before a Landscape | c. 1494/97 — |
Oil on panel | 89 × 74 | Schweinfurt, private collection Georg Schäfer[13] | 17 |
 |
Seven Sorrows Polyptych | c. 1495/96 —wc |
Oil on panel (pinewood) |
63 × 44.5–46.5 each side panel 110 × 43.6 central panel |
Dresden, Gemäldegalerie Alte Meister (1875–1881) (seven surrounding panels) Munich, Alte Pinakothek, Bayerische Staatsgemäldesammlungen (709) (central panel) |
21–27 20 |
  |
Saint Jerome in the Wilderness back side: Heavenly Scene |
c. 1496 — |
Oil on panel (pearwood) |
23.1 × 17.4 | London, National Gallery (NG6563) | 14–15 |
 |
Portrait of Elector Frederick the Wise of Saxony | 1496 mlf |
Tempera on canvas | 76 × 57 | Berlin, Gemäldegalerie, Berlin State Museums (557C)[14] | 19 |
 |
Dresden Altarpiece | 1496 | Tempera on canvas | 114 × 45 each wing 114 × 96.5 central panel |
Dresden, Gemäldegalerie Alte Meister (1869) | 39–40 [c][15] |
_-_Google_Art_Project.jpg) .jpg) |
Haller Madonna back side: Lot and His Daughters |
c. 1496/99 +[16] |
Oil on panel | 52.4 × 42.2 | Washington, National Gallery of Art, Samuel H. Kress Collection (1952.2.16.a, b) | 43–44 |
.png) |
Portrait of a Young Woman with Her Hair Down (formerly believed to be a Fürleger) |
1497 —c[17] |
Watercolor on canvas (Tüchlein) | 56.3 × 43.2 | Frankfurt, Städel (937) | 45K |
 |
Portrait of a Young Woman with Her Hair Done Up (formerly believed to be a Fürleger) |
1497 —c[18] |
Watercolor on canvas (Tüchlein) | 56.5 × 43.1 | Berlin, Gemäldegalerie (77.1) | 46 |
 |
Portrait of a Man | 1497/98 — |
Color on parchment on panel (oakwood) |
25.7 × 20.5 | Kreuzlingen (Switzerland), Heinz Kisters Collection (no website) | 47 |
 |
Portrait of Dürer's Father at 70 copy[19] |
1497 dm+c[20] |
Oil on panel (limewood) |
51 × 40.3 | London, National Gallery (NG1938) | 48[21] |
 |
Self-Portrait at 26 | 1498 dm+wc[22] |
Oil on panel | 52 × 41 | Madrid, Museo del Prado (P021791) | 49[23] |
 |
Lamentation (Holzschuher Lamentation) | 1499/1500 | Color on panel | 150 × 120.6 | Nuremberg, Germanisches Nationalmuseum (Gm165) | 55 |
 |
Portrait of Oswolt Krell | 1499 di[24] |
Color on panel (limewood) |
49.7 × 38.9 central panel 49.4 × 15.7 (l) 49.8 × 15.6 (r) |
Munich, Alte Pinakothek (WAF 230, 230 A, 230 B) | 56–58 |
 |
Portrait of an Unknown Man in a Red Gown ("St Sebastian")[25] | c. 1499 — |
Oil on panel | 52 × 40 | Bergamo, Accademia Carrara (469 not found) | 59 |
  |
Portrait of Hans Tucher diptych, left wing back side: Combined Coat-of-Arms of the Tucher and Rieter Families |
1499 | Oil on panel | 28 × 24 | Weimar, Schlossmuseum, Klassik Stiftung Weimar (G 31) | 60–61 |
 |
Portrait of Felicitas Tucher (née Rieter) diptych, right wing |
1499 | Oil on panel | 28 × 24 | Weimar, Schlossmuseum (G 32) | 62 |
 |
Portrait of Elsbeth Tucher (née Pusch) diptych, left wing with the Portrait of Nikolaus Tucher lost |
1499 dmf+[26] |
Color on panel (limewood) |
29.1 × 23.3 | Kassel, Gemäldegalerie Alte Meister, Wilhelmshöhe Palace, Hessen Kassel Heritage (GK 6) | 63; 64/65V[27] |
.jpg) |
Self-Portrait with Fur-Trimmed Robe | 1500 dm+wc[28] |
Color on panel (limewood) |
67.1 × 48.9 | Munich, Alte Pinakothek (537) | 66 |
 |
Hercules Killing the Stymphalian Birds | 1500 f? |
Watercolor on canvas | 84.5 × 107.5 cropped[29] |
Nuremberg, Germanisches Nationalmuseum (Gm 166) | 67 |
.jpg) |
Paumgartner Altarpiece
|
c. 1500 | Oil on panel (firwood) |
155 × 126.1 central panel, 157 × 60.4 each wing |
Munich, Alte Pinakothek (702) | 50–52 53W, 54K[30] |
 |
Lamentation of Christ (Glim Lamentation) | 1500/03 —w |
Color on panel (spruce) |
151.9 × 121.6 | Munich, Alte Pinakothek (704) | 70 |
 |
Madonna and Child at the Breast (Madonna lactans) |
1503 dm |
Oil on panel (limewood) |
24.1 × 18.3 | Vienna, Kunsthistorisches Museum (GG 846) | 71 |
 |
Jabach Altarpiece outer panels:
|
c. 1503/04 — |
Oil on panel (limewood) |
94 × 51 (l) 94 x 57 (r) both truncated at top |
Frankfurt, Städel (890) (left) Cologne, Wallraf-Richartz Museum (WRM 0369) (right) |
72–73[31] |
.jpg) .jpg) |
Jabach Altarpiece triptych wings (central panel lost)
|
c. 1503/05 m |
Color on panel | 96.6 × 54.5 (l) 97 × 55.1 (r) both truncated at top |
Munich, Alte Pinakothek (WAF 228 and WAF 229) | 74–75[32] |
.jpg) .jpg) |
Studies of a Boy's Head Inclined to the Right Boy's Head Inclined to the Left |
1506 — |
Distemper over ink or charcoal on cloth doubled by paper | 22.5 × 19.2 23.1 × 17.9 |
Paris, Bibliothèque nationale de France (6, 7 (B-13 rés.)) | 78–79 |
 |
Adoration of the Magi | 1504 | Oil on panel | 99 × 113.5 | Florence, Uffizi | |
 |
Portrait of a Man (Endres Dürer) |
c. 1504 — |
Oil on panel | 43 × 29 | Budapest, Museum of Fine Arts (142) | excudedc[33] |
 |
Portrait of a Venetian Woman | 1505 dmc |
Oil on panel (spruce) |
33 × 24.5 | Vienna, Kunsthistorisches Museum (GG 6440) | 92 |
 |
Salvator Mundi unfinished |
1505 | Oil on panel | 58.1 × 47 | New York, Metropolitan Museum of Art | |
 |
Feast of the Rosary | 1506 dmw |
Oil on panel | 162 × 192 | Prague, Národní galerie (O 1552) | 93 |
 |
Madonna with the Siskin | 1506 dm+i[34] |
Oil on panel (poplar) |
93.5 × 78.9 | Berlin, Gemäldegalerie (557F) | 94 |
 |
Portrait of a Young Venetian Woman | 1506/07 m |
Oil on panel (poplar) |
28.5 × 21.5 | Berlin, Gemäldegalerie (557G) | 95 |
 |
Portrait of a Young Man | 1506 dm+[35] |
Oil on panel | 46 × 35 | Genoa, Palazzo Rosso (PR 47) | 96 |
 |
Portrait of Burkard von Speyer | 1506 dm |
Oil on panel | 31.7 × 26 | Berkshire, Windsor Castle, Royal Collection (RCIN 404418) | 97 |
 |
Christ Among the Doctors | 1506 dmi[36] |
Oil on panel (poplar) |
64.3 × 80.3 | Madrid, Museo Nacional Thyssen-Bornemisza (134 (1934.38)) | 98 |
  |
Portrait of a Young Man back side: Allegory of Avarice |
1507 dm |
Oil on panel (limewood) |
35 × 29 | Vienna, Kunsthistorisches Museum (GG 849) | 99 |
 |
Portrait of a Young Girl (with a Red Beret) | 1507 dmw |
Color on parchment transferred to panel | 32.5 × 22.3 | Berlin, Gemäldegalerie, (557l) | 102 |
_2.jpg) |
Adam and Eve | 1507 mi dmi[37] |
Oil on panel (pinewood) |
209 × 81 209 × 80 |
Madrid, Museo del Prado (P02177, P02178) | 103–104 |
 |
Martyrdom of the Ten Thousand | 1508 dmiwc |
Oil on panel transferred to canvas | 99 × 87.5 | Vienna, Kunsthistorisches Museum (GG 835) | 105 |
 |
Heller Altarpiece copy |
1508/09 | Oil and tempera on panel | 189 × 138 central element |
Frankfurt, Historical Museum | |
_-_Museum_Boijmans_Van_Beuningen.jpg) |
Holy Family | 1509 | Oil on panel | 30.9 × 38.6 | Rotterdam, Museum Boijmans Van Beuningen (2447 (OK)) | 116 |
_-_Google_Art_Project.jpg) _-_GG_838_-_Kunsthistorisches_Museum.jpg) |
Adoration of the Trinity (Landauer Altar) with frame designed by Dürer |
1511 dmi |
Oil on panel (limewood) |
135 × 123.4 (limewood) 147,7 × 135.4 (frame) |
Vienna, Kunsthistorisches Museum (838) | 118 |
 |
Madonna of the Pear | 1512 dm |
Oil on panel (limewood) |
49.3 × 37.4 | Vienna, Kunsthistorisches Museum (848) | 120 |
 |
Emperor Charlemagne and Emperor Sigismund | c. 1512 — |
Oil and tempera on panel | 215 × 115 each, including frame |
Nuremberg, Germanisches Nationalmuseum (Gm167 and Gm168) | 123–124 |
 |
Virgin and Child | 1516 | Oil on panel (spruce) |
27.9 × 18.7 (w/border 22.2) |
New York, Metropolitan Museum of Art (17.190.5) | 127[38] |
 |
Madonna of the Carnation | 1516 | Color on parchment mounted on pine wood (doubled with spruce) |
39.7 × 29.3 | Munich, Alte Pinakothek (4772) | 130 |
 |
Portrait of Michael Wolgemut | 1516 dm+c |
Oil and tempera on panel (limewood) |
29.8 × 28.1 | Nuremberg, Germanisches Nationalmuseum (Gm885) | 132[39] |
.jpg) |
Portrait of a Clergyman (Johann Dorsch?) | 1516 dm |
Oil on parchment transferred to fabric[40] | 41.7 × 32.7 | Washington, National Gallery of Art, Samuel H. Kress Collection (1952.2.17) | 133 |
  |
Apostles Philip and James | 1516 | Tempera on panel | 45 × 38 46 × 37 |
Florence, Uffizi (1089, 1890, 1099) | 128–129 |
.jpg) |
Lucretia (The Suicide of Lucretia) | 1518 dmpw |
Color on panel (limewood) |
168 × 74 | Munich, Alte Pinakothek (705) | 137 |
 |
Virgin Mary in Prayer | 1518 dm |
Oil on panel (limewood) |
54.9 × 45.3 | Berlin, Gemäldegalerie (557H) | 138 |
 |
Virgin and Child with St Anne | 1519 | Oil on panel (limewood) |
60 × 49.8 | New York, Metropolitan Museum of Art (14.40.633) | 147 |
 |
Portrait of Jakob Fugger the Wealthy | c. 1520 —p[41] |
Tempera on canvas (Tüchlein) | 69.4 × 53 | Augsburg, Staatsgalerie Altdeutsche Meister, Bavarian State Painting Collections (717) | 143 |
 |
Portrait of Emperor Maximilian I of Habsburg | 1519 — |
Tempera on canvas | 83 × 65 | Nuremberg, Germanisches Nationalmuseum (Gm169) | 145 |
 |
Portrait of Emperor Maximilian I | 1519 dm |
Oil on panel (limewood) |
74 × 62 | Vienna, Kunsthistorisches Museum (825) | 146 |
 |
Portrait of a Man | 1520 dm |
Distemper on canvas mounted on paper | 40 × 30.3 | Paris, Musée du Louvre (INV 18598, Recto) | 148 |
 |
Study for a Virgin Mary | c. 1520 | Tempera on canvas | 25.5 × 21.5 | Paris, Bibliothèque nationale de France (B-13 rés.) | 77 |
 |
Portrait of Bernhart von Reesen | 1521 | Oil on panel (oak wood) |
45.5 × 31.5 | Dresden, Gemäldegalerie Alte Meister (1871) | |
 |
Portrait of a Man in a Fur Coat (Rodrigo de Almada?) | 1521 | Oil on panel | 50.6 × 32.9 | Boston, Isabella Stewart Gardner Museum (P21n10) | |
 |
St. Jerome in His Study | 1521 | Oil on panel (oak wood) |
59.5 × 48.5 | Lisbon, Museum Nacional de Arte Antiga (828 Pint) | |
 |
Portrait of a Man with Beret and Scroll | 1521 dm |
Oil on panel (oakwood) |
50 × 36 | Madrid, Museo del Prado (P002180) | 165 |
 |
Virgin and Child with Saint Anne | 1523 | Oil on panel | 75 x 64.5 | Warsaw, Muzeum Kolekcji im. Jana Pawła II (Porczyński Gallery) (no website) | |
 |
Madonna and Child with the Pear | 1526 | Oil on panel | 43 × 31 | Florence, Uffizi (1890, 1171) | |
,_1526,_557D.jpg) |
Portrait of Jakob Muffel | 1526 dm+[42] |
Oil on panel transferred to canvas |
49.7 × 37.2 | Berlin, Gemäldegalerie (557D) | 178 |
_mit_Deckel,_1526,_557E.jpg) _mit_Deckel,_1526,_557E,_v.jpg) |
Portrait of Hieronymus Holzschuher with cover |
1526 dm+[43] |
Oil on panel (limewood) |
51 × 37.1 | Berlin, Gemäldegalerie (557E, 557E/1) | 179–180 |
 |
Portrait of Johann Kleberger | 1526 dmi |
Oil on panel (limewood) |
36.5 × 36.5 | Vienna, Kunsthistorisches Museum (850) | 182 |
.jpg) |
The Four Apostles
|
1526 | Color on panel | 212.8 × 76.2 (l) 212.4 × 76.3 (r) |
Munich, Alte Pinakothek (545, 540) | 183–184 |
 |
Way to Calvary | 1527 | Oil on panel | 32 × 47 | Bergamo, Accademia Carrara |
See also
[edit]Sources
[edit]- Fedja Anzelewsky: Albrecht Dürer. Das malerische Werk. Deutscher Verlag für Kunstwissenschaft, Berlin 1971, ISBN 3-871-57-0400.
- 2nd edition in two volumes, 1991, ISBN 3-871-57-1377.
- Norbert Wolf: Albrecht Dürer, Prestel, München 2010, ISBN 978-3-7913-4426-3.
References
[edit]- ^ Attributed by Kemperdick to Dürer's father as a self-portrait on the basis of circumstantial arguments and great stylistic similarities to his self-portrait drawing that could have then functioned as a preparatory drawing. In addition, its differences in style to the Portrait of Barbara Dürer cannot be entirely explained by slightly different dates. Stephan Kemperdick (2013), ""Nach mir selbs kunterfet". Bildnisse und Selbstbildnisse", in Jochen Sander (ed.), Dürer. Kunst – Künstler – Kontext, Exhibition catalogue Städel, Frankfurt (in German), München: Prestel, pp. 93–99, ISBN 978-3-7913-5318-0.
- ^ Städel catalogue 2013, p. 100.
- ^ On the museum's website.
- ^ Believed to be lost, but recovered in 1977.
- ^ Included in 2. edition 1991 as the Devil fleeing into a crevice (Der Teufel flieht in eine Felsspalte), S. 119f.
- ^ Firmly ascribed to Dürer again as a work of "shortly after 1490", particularly on the basis of similarities of its underdrawing and painting style with the Portrait of Barbara Dürer by Jochen Sander (2013), "Catalogue no. 2.18: Albrecht Dürer - Die Auffindung des ertrunkenen Knaben aus Bregenz", in Jochen Sander (ed.), Dürer. Kunst – Künstler – Kontext, Exhibition catalogue Städel, Frankfurt (in German), München: Prestel, pp. 60f, ISBN 978-3-7913-5318-0.
- ^ Städel catalogue 2013, p. 70.
- ^ While the Kunsthalle is being renovated the Dürer panel is displayed in the ZKM (as of June 2024).
- ^ "1493 / Min Sach die gat / Als es oben schtat" (My affairs will go as it stands above)
- ^ It was not unusual at the time to use parchment mounted on the panel instead of a primer as a simpler way to prepare the surface of the panel. It also allowed to copy the preparatory drawing before being mounted. Daniel Hess; Oliver Mack (2012). "Tradition und Vielfalt: Dürers Bildträger". In Daniel Hess; Thomas Eser (eds.). Der frühe Dürer (exhibition catalogue) (in German). Nürnberg: Germanisches Nationalmuseum. pp. 172ff. ISBN 978-3-936688-59-7.
- ^ Monogram with a small "d", "৳ 1493 ৳ Ad ৳".
- ^ Monogram with a small "d".
- ^ As of 1971.
- ^ Not to be found in the online catalogue of the SMB (as of June 17, 2024).
- ^ The central panel is recognized only as copy by Master Jhan(?). Anzelewsky 1971, p. 134ff.
- ^ The coat of arms in the lower corners are those of the Haller family (l) and Koberger (r).
- ^ See next entry (46).
- ^ The copy at the Museum der bildenden Künste, Leipzig, shows a monogram in the open book of the statuette on the reveal; also missing in the supposedly original in Berlin the inscription on the sheet of paper on the wall at the top right reads: "Also pin ich gestalt / Jn achcehe Jor altt / .1.4.9.7." (I am 18 years old). The Fürleger insignia below is a later addition, also in the Portrait of a Young Woman with Her Hair Down.
- ^ Unusual bright background color, and a thick layer of paint that produced cracks in the surface, uncommon for works by Dürer. See full description on the museum's website.
- ^ German inscription on top: "1497 ALBRECHT THVRER DER ELTER VND 70 IOR" (Albrecht Thurer the Elder and 70 Years [old]).
- ^ Anzelewsky understands the portrait of his father as a companion piece to the following Prado Self-Portrait (49). Anzelewsky, S. 150f.
- ^ Inscription in German: "৳ 1498 ৳ Das malt Ich nach meiner gestalt / Ich war sex und zwanzig jar alt / Albrecht Dürer / AD" (I painted this after my likeness. I was 26 years old).
- ^ Anzelewsky understands both paintings, the portraits of his father and of Dürer himself as a diptych. Anzelewsky, S. 150f.
- ^ "∗OSWOLT KREL∗~ / ·1499·"
- ^ The broken arrow in the sitter's hand was formerly believed to signify an identification with the Saint. The painting is heavily compromised, the head originally was covered with a contemporary hat, instead an inscripted halo was added ("Sanctus Sebastianus Martyr"), and the fur collar was considerably broadened. For Anzelewsky the landscape is undoubtedly by Dürer. Anzelewsky, p. 161, with an explanatory drawing.
- ^ "ELSPET · NICLAS · TVCHERIN · 26 ALT / 1499" ("IN" and "ALT" contracted). The hardly recognisable monogram above the hand may be from another hand; on the clasp "NT", the initials of her husband Nikolaus Tucher; on the ribbon holding her haircloth "MHIMNSK", undecrypted, like the "WW" woven in her shirt.
- ^ Lost portrait of her husband Nikolaus Tucher and a coat-of-arms on the reverse. Anzelewsky 1971, p. 63f.
- ^ "Albertus Durerus Noricus / ipsum me propriis sic effin / gebam coloribus aetatis / anno XXVII."
- ^ Anzelewsky proposed the original form to be an ogival or a round arched field of a wall; it would have shown all three "birds" in full. Anzelewsky 1971, p. 168–170.
- ^ An Annunciation with the Virgin and Gabriel on the inner left and right wing respectivily.
- ^ With reconstruction drawing, p. 179.
- ^ With reconstruction drawing, p. 180.
- ^ Alchewsky 1971, p. 38.
- ^ "Alber[tu]s durer german(us) / faciebat post virginis / partum 1506 / AD"
- ^ "Albertus Dürer germanus faciebat post virginis partum / · 1506 AD"
- ^ "1506 / A.D. / Opus quinque dierum" (Work done in five days) written on a bookmarker sticking out of the folio at the bottom on the left.
- ^ "Alberto dürer almano / faciebat post virginis / partum ৳ 1507 ৳ AD"
- ^ Probably due to its "heavily overpainting" and otherwise compromised condition Gustav Glück, Hans Tietze and Erica Tietze-Conrat, and Erwin Panofsky doubted it. It was cleaned and restored by Alois Hauser the Younger in Berlin under the aegis of Max J. Friedländer in the 1930s, and again around 1945 by Murray Pease at MET. Catalogue entry.
- ^ Nr. 131 is a copy on parchment glued on panel, 23 × 18.5 cm, with monogram attributed to Dürer (private collection). Anzelewsky, p. 241, plates 160–161.
- ^ Probably 19th ct. as first suggested by Colin Eisler, Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian, Oxford 1977, p. 16–19, fig. 17. See technical summary in the museum's catalogue.
- ^ Overpainted in 1760 by Balthasar Augustin Albrecht. When the overpainting was removed 1928/29, the signature might have been lost. Anzelewsky, p. 249.
- ^ "EFFIGIES · JACOBI · MVFFEL · / AETATIS · SVAE · ANNO · LV ·/ SALVTIS · VERO · M · D · XXVI"
- ^ "HIERONIMI. HOLTZSCHVER. ANNO. DO(mi)NI · 1526 ·/ · ETATIS · SVE · 57 ·" on top left, "AD" on upper right.
