Albrecht Dürer
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Albrecht Dürer

Saint Eustace (B. 57; M., Holl. 60; S.M.S 32)

Details
Albrecht Dürer
Saint Eustace (B. 57; M., Holl. 60; S.M.S 32)
engraving, 1501, watermark High Crown (M. 20), a brilliant, rich and black impression, Meder b, printing with great clarity and contrast, the tower at left slipped (as often seen in early impressions), with 1-2 mm. margins on three sides, trimmed on the platemark below, the sheet with a warm paper tone, a long, very skilfully repaired curved tear from the monogram into the dog at left, another from the left sheet edge to the building below the mountain, a small repaired patch in the tree above the horse's head, other minor skilfully repaired or backed areas elsewhere, some pale mottled foxing mostly visible verso
P. 356 x 259 mm., S. 357 x 263 mm.
Special notice
VAT rate of 5% is payable on hammer price and at 17.5% on the buyer's premium.

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Frédérique Darricarrère-Delmas
Frédérique Darricarrère-Delmas

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Lot Essay

The largest of all Dürer's engravings, Saint Eustace has always been regarded as one of his finest. Dürer himself considered this early work something of a show-piece, as he took it with him on his journey to the Netherlands in 1521. In his travel diary he mentions six occasions of him selling or presenting it to potential patrons.

The subject matter was well chosen - Saint Eustace, the patron saint of huntsmen, was enormously popular in Northern Europe at this time. According to the legend a Roman soldier called Placidas saw a vision of the crucified Christ appear between the antlers of a stag he was hunting. Upon hearing God's voice spoken by the animal, 'O Placidas, why pursuest thou me?', he fell on his knees, was converted and baptised with the name Eustace.

In Dürer's engraving the saint is shown kneeling on the banks of a stream, transfixed by his vision, while his horse and hounds wait patiently for their master. The animals are depicted with delightful naturalism, as is the woodland vegetation, the gnarled tree trunk, and the view in the distance of a hill surmounted by a castle, with a flock of birds spiralling around its castellated turrets. This display of technical virtuosity may have been Dürer's counter to the hotly contested view prevalent in the 16th century that sculpture was superior to painting due to its capacity to show the figure three-dimensionally. Dürer's depiction of the natural world in Saint Eustace in such exquisite detail was a provocative claim for the parity of painting. One of the most admired and best loved elements in Dürer's whole graphic oeuvre are the greyhounds in the foreground, which prompted Vasari effusive description of the engraving as 'amazing, and particularly for the beauty of some dogs in various attitudes, which could not be more perfect'.

Fine, early impressions of Saint Eustace have always ranked amongst the most highly-priced possessions of a print collector. The present impression compares well with the outstanding examples from the Cracherode Collection in the British Museum and from collection of the Dukes of Devonshire at Chatsworth (sold in these rooms, 5 December 1985, lot 12 (£ 190,000).

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