- Museum number
Large Crucifixion in outline only; Christ on the cross with St John on right, the Virgin Mary and other figures on left, and the Magdalene kneeling next to the cross, embracing it
- Production date
- 1558-1564 (circa)
Height: 333 millimetres (edge of sheet)
Height: 317 millimetres (plate-mark)
Width: 225 millimetres
Width: 236 millimetres
- Curator's comments
- This is the first plate of the 'Crucifixion in outline' which was very closely copied in a second plate, both of which are described under Meder 25 (impressions of state i and ii of the second plate are in the British Museum, see E,4.47 and E,4.48). Very few impressions survive of either plate, none of which, judging from the watermarks where they exist, were taken during Dürer's life. The attribution of the design of the engraving has been the subject of much discussion. It is certainly done by someone very familiar with the artist's work, because it is composed of an amalgam of motifs taken from a large number of Dürer's drawings. Publication of early inventories of Dürer's drawings by Christof Metzger (see C.Metzger, 'Dürer', Vienna, 2019, pp 466-71) and a close examination of the early history of those copied in 'Crucifixion in outline' many of which were acquired by Cardinal Antoine Perrenot de Granvelle who lived in Brussels until 1564, make it most likely that the print was commissioned by Granvelle and made by an anonymous Antwerp engraver published by Hieronymus Cock c.1558-1564.
A copper plate for 'Crucifixion in outline' was listed in the inventory of the estate of Volcxken Diericx (d. 1600) the widow of the Flemish printseller Hieronymus Cock (d. 1570) who took over his business: 'Een coperen plaete van een Crucifix ende seker personagien van Aelbert Dure ghetrocken metten pinsoene' (A copper plate of a Crucifix and certain persons drawn [printed] by Aelbert Dure with a stylus). It is probable that this refers to the second plate. Impressions from the first plate of 'Crucifixion in outline' are very scarce and larger numbers have survived from the second plate, which makes it likely that the first plate was damaged soon after production and the second one made to replace it. See Joris van Grieken, 'Establishing and marketing a publisher's list', in J. van Grieken - G. Luijten - J. van der Stock, "Hieronymus Cock: The Renaissance in Print", exh.cat. Royal Library of Belgium in Brussels and Fondation Custodia in Paris, New Haven and London, 2013, p.25, fig.16.
For impressions of plate 2 with and without the AD monogram, see E,4.47 and E,4.48.
Watermark: crescent moon with a four-lobed leaf above and the letters EDMONDENISE in use c. 1558-88 (Briquet, 5304).
For further details see Giulia Bartrum, 'From drawing into print. The 'Crucifixion in Outline and Dürer's Legacy' in ' Dürer's Journeys. Travels of a Renaissance Artist', edited by Susan Foister and Peter van den Brink, London, National Gallery, 2021; for earlier literature, see Campbell Dodgson, 1926, no.107, who first identified this impression as Plate I in 1923; and Matthias Mende in 'Albrecht Dürer: das druckgraphische Werk', Band I, Kupferstiche, Munich, 2002, no. A3.
- Not on display
- Exhibition history
1971 BM, Dürer, no. 309
- Acquisition date
- Acquisition notes
- Bequeathed by Joseph Nollekens, subject to a life interest to Francis Douce, 1834.
- Prints and Drawings
- Registration number