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September Fine Art, Design & Antiquities

Wed, Sep 30, 2026 02:00PM EDT
  2026-09-30 14:00:00 2026-09-30 14:00:00 America/New_York SebastianCharles Auctions SebastianCharles Auctions : September Fine Art, Design & Antiquities https://bid.sebastiancharles.com/auctions/sebastiancharles-auctions/september-fine-art-design-antiquities-23893
Pre-bidding is now open for our September Fine Art, Design & Antiquities auction, featuring fine art, glass sculptures and vases, mid-century modern lamps, and more. Highlights include a pair of Samuel Henry Gordon Alken oil on canvas paintings, a Dale Chihuly "Persian Set" glass sculpture, and a Chinese carved hippo bone chess set, alongside paintings from Vasily Shulzhenko, John Alexander Noble, LeRoy Neiman, and more. Auction is September 30th at 1 PM CDT.
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Lot 352

Albrecht Durer "The Betrayal of Christ" Woodcut

Estimate: $3,000 - $5,000
Starting Bid
$2,000

Bid Increments

Price Bid Increment
$0 $5
$50 $10
$250 $25
$1,000 $50
$2,000 $100
$4,000 $250
$10,000 $500
$20,000 $1,000
$50,000 $2,500
$100,000 $5,000
$500,000 $10,000

Albrecht Durer's mark in the lower left corner and dated in the upper left. 

Date: 1510

Provenance: Appraisal documents from Elayne Galleries and catalogue pages from F.W.H Hollstein German Engravings, Etchings, Woodcuts 1400-1700, Joseph Meder Durer-Katalog 1932, and more. 

 

Image: 11" W x 15 1/2" T

Frame: 22" W x 27" T

 

Condition: The woodcut is in very good condition. There are lines interrupting the print in the lower right, consistent with recorded issues of the printing block. Toning and spots to the paper, consistent with age. Please see images for details. 

 

Artist Bio: Albrecht Durer (1471-1528) of Nuremberg raised printmaking to the level of painting. "The Betrayal of Christ" belongs to his Large Passion, a series of large-format woodcuts begun in the 1490s; this sheet is dated 1510 in the block and carries his AD monogram, and the complete series with Latin text was published in 1511. Durer worked the Large Passion at roughly 15 1/2 by 11 inches so that a woodcut would carry the presence of a painting, in contrast to the small cabinet scale of his engraved Passion. Later impressions from the surviving blocks and nineteenth-century reproductions of the series are common, so the period of any impression is established by the paper, watermark and block wear. 

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