Home Contact | Advertising Subscribe Venice at Portland Art Museum
Search Listings
Alberta British Columbia Oregon Washington
Exhibition Previews
Calendar
Gallery Websites
Conservation Corner

SEARCH EDITORIAL
To find gallery listings use search at page top right.


CURRENT COLUMN

\
The Case of the Developing Dalí

\
The Case of Nano-D Technology

The Case of Dabatable Donations
The Case of Debatable Donations

Edgar Heap of Birds
The Case of the Long-tailed Monkey

Edgar Heap of Birds
The Case of Edgar Heap of Birds

Silent Song
The Case of the Silent Song

Aficionado
The Case of Alex and the Art Aficionado

Portrait
The Case of the Privacy of the Publicity Photo

Potter
The Case of the Potter's Portraits

The Case of the Coy Cornelius Krieghoff

The Case of the Political Portraitist

The Case of the Reconsidered Revolution

The Case of the Anabiotic Abbey

The Case of the Phoney Picasso

The Case of Setsuko Piroche

The Case of being on the Forest Edge with Vern Simpson

The Case of Being at the End of the Storm with Loren Adams

The Case of Being: Under the Table with Thomas

The Case of Wyland's Whales on Walls

The Case of A.Y. Jackson's Smart River (Alaska)

The Case of Red Fish with Blue Breasts

The Case of Looe Poole

The Case of Camaldoli

The Case of MS

The Case of the Misattributed Emily Carrs

The Case of the Doubtful Dürer

The Case of the Purloined Picasso

The Case of the Defrocked Duchess of Devonshire

The Case of the First Wife

The Case of the Dodford Priory

The Case of the Unknown Actor

Art Services & Materials


Confessions Back

Practical Art History
(or Confessions of a Fine Art Appraiser)

by Jim Finlay
James Finlay Fine Art Appraisals

Chapter 6. The Case of the Doubtful Dürer

Recently, while attending an Art and Antiques fair, I came across what appeared to be a framed engraving by Albrecht Dürer (1471-1528) entitled, Christ on the Cross. I didn’t think too much of it, as reproductions of Dürer’s graphic work are quite common and obtainable from books or a good quality photocopier.

Albrecht Dürer, Christ on the Cross

I continued wandering through the show until it struck me that the engraving was of a size common to originals of Dürer’s work, as they were meant to be carried as devotional pieces, possibly during pilgrimages to sacred sites throughout Europe.

Excitedly, I hurried back to the dealer to find that the engraving was still for sale and asked if I could inspect it. Although the print was under glass I was able to determine that it was indeed an engraving, evidenced by the raised lines of dark ink sitting on the paper. I could also see the resulting perimeter edge impression of the plate where it had been forced into the paper. Was this an original 1508 engraving by Albrecht Dürer?

I purchased the framed print for a nominal sum and took it to my studio where, anxiously, I removed it from the frame.

Further inspection revealed that it was indeed an engraving, however, unfortunately, with the addition of full margins. (The original engravings of this print would have been trimmed quite close to the image and would definitely not have had margins).

I also came across three additional attributes, whose existence I was not unhappy to discover. (By now I had determined that this print was not an original). Firstly, the printed number 728 appeared in the lower left hand corner, close to the paper edge; secondly, on the back appeared a circular stamp with text in German, which read, “Facsimile Reproduction Staatsdruckerei Berlin”; and thirdly, a blind-stamp, lower right of a stylized eagle’s head in the centre of circular text read “Staatsdruckerei Berlin”.

I contacted the Museum of Fine Arts, Boston and was informed that this was a facsimile reproduction most likely made via a helio-gravure process. This involves transferring a photograph of the image onto a metal plate. It was probably a page of a 19th Century art periodical printed by a German national printer (Staatsdruckerei).

Further research revealed that according to Strauss, (The Complete Engravings, Etchings and Dry-points of Albrecht Dürer, New York 1972), Dürer mentions in the diary of his trip to the Netherlands that he gave the Factor of Portugal an impression of this engraving at Antwerp on August 20, 1520.

In November 2001, an impression of the same engraving sold at Swan Galleries, New York for $12,650 u.s., double its high-end presale limit, perhaps partly due to the belief that this was the same print given by Dürer to the Factor.

Next: The Case of the Misattributed Emily Carr.


 Tue, May 30, 2006