Albrecht Dürer
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Albrecht Dürer

Adam and Eve (B., M. Holl. 1; S.M.S. 39)

Albrecht Dürer
Adam and Eve (B., M. Holl. 1; S.M.S. 39)
engraving, 1504, watermark Bull’s Head (M. 62), a fine, rich and warm Meder a impression of third, final state, printing with deep shadows and great contrast, yet clear and subtle in the details, trimmed just inside the platemark but retaining a fillet of blank paper outside the subject on all sides, an extremely skillful repair at lower centre, another on and around the flank of the moose, a tiny repair in the blank paper above the mountain goat, generally in good condition
S. 249 x 193 mm.
Thomas Pegram (according to aninscription on the mount and not in Lugt).
John P. Heseltine (1843-1929), London (cf. L. 1507-1508; without his mark, according to an inscription on the mount); presumably his posthumous sale, Sotheby’s, London, 3 – 5 June 1935, lot 515 (this impression cited by Lugt, sold £240).
Tomás Harris (1908-1964), London (not in Lugt); possibly purchased at the above sale; then by descent.
With Colnaghi’s, London, on behalf of the heirs of the above.
The Sterling and Francine Clark Art Institute, Williamstown, Massachusetts; purchased from the above in 1968; de-accessioned in August 2013.
Special notice
VAT rate of 5% is payable on hammer price and at 20% on the buyer's premium.

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Lot Essay

From the moment it was conceived, it is clear that Dürer intended Adam and Eve to be a work of great ambition and importance, and he took an unusual amount of care in its creation. More preparatory drawings survive for it than for any other print by Dürer, including a beautiful study of the two figures on a blackened background (Pierpont Morgan Library, New York; W. 333). It is also the only one of his prints to be signed with his full name and birthplace.

In 1505 Dürer embarked on his second journey to Venice, and it is likely that he intended the print to be a show-piece for the Italian market, to enhance his reputation as a master printmaker and to attract commissions. It was perfectly suited to this role as it united the painstaking realism and attention to detail for which the northern masters were renowned, with classical nudity and the ideal of disegno, so highly regarded in Renaissance Italy.

For very different reasons, Melencolia I (lot 37) and Adam and Eve are the best-known of all of Dürer's prints. While Melencolia has always been admired for its complexity, the present work is loved for its sheer charm and beauty. This can mean, however, that its abundant symbolism and allusion is overlooked. The entire composition is an image of duality and division. The Tree of Knowledge separates Adam from Eve, and the image into two halves. Whilst Eve is associated with this tree, Adam grasps a branch of mountain ash, identified as the Tree of Life. The parrot and the serpent respectively symbolise wisdom and betrayal. The cat and mouse in the foreground form another pair of potential opposites, but, as the Fall has yet to occur, they sit peacefully together.

The other animals depicted are also something more than examples of God's creation in the Garden of Eden. The moose, the cow, the rabbit and the cat were each associated respectively with the melancholic, the phlegmatic, the sanguine and the choleric temperament, the four humours which after the Fall came to rule over the human spirit, and made it subject to desire and sin. The mountain goat far in the background behind Eve is a traditional symbol of lust and damnation (see lot 36). It stands on the edge of the abyss, presaging the Fall to come.

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