in margin above image, by hand in ink: Possit non eiciam [sic] picture demon ut nullus apparere suo tanto / temuit [?] ipse pauore. Obiectum [sic] fuerit nam si quod demone corpus / hunc mox in tuitus [sic] depellet ymage [sic] alme (The picture [is] so powerful that when it appears, the demon will fear and tremble. If any body is obsessed by a demon, as soon as it is displayed, the sacred image will dispel it.)
[translation from Parshall, Peter, and Rainer Schoch. _Origins of European Printmaking: Fifteenth-Century Woodcuts and Their Public._ Washington, DC: National Gallery of Art, 2005, p. 183.]
- The First Century of Printmaking 1400-1500, The Art Institute of Chicago, 1941, no. 48a.
- Fifteenth-Century Woodcuts and Metalcuts from the Collection of the National Gallery of Art, NGA, 1965-1966, no. 357, repro.
- Master Prints from the Rosenwald Collection, Virginia Museum of Fine Arts, Richmond, 1965, no. 18.
- Origins of European Printmaking: Fifteenth-Century Woodcuts and Their Public, NGA and Germanisches Nationalmuseum, Nuremberg, 2005-2006, no. 48, repro.
- Schreiber, Wilhelm Ludwig. Handbuch de Holz- und Metailschnitte des XV Jahrhunderts. 8 vols. Leipzig: Verlag Karl W. Hierseman, 1926-1930.
- Field, Richard S. Fifteenth Century Woodcuts and Metalcuts from the National Gallery of Art, Washington, D.C.. Exh. cat. Washington: National Gallery of Art, 1965.
- Brisman, Shira. "The Image That Wants to Be Read: An Invitation for Interpretation in a Drawing by Albrecht Dürer." Word & Image 29, no. 3 (July/September 2013): 291-292, fig. 13.
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