Inscription
lower right, in block, on shield within roundel: AA [artist's monogram]; lower center, in block: Ganntz schön bistu mein fründtin vnd ein mackel ist nit in dir. / A[ve] Maria [repeated twice] (You are of perfect beauty my love and there is no blemish in you. Ave Maria) [translation from Bartrum, Giulia. _German Renaissance Prints, 1490-1550._ London: British Museum, 1995, p. 190, no. 196.]
Exhibition History
- 1962
- Color in Prints: an Exhibition of European and American Color Prints from 1500 to the Present, Yale University Art Gallery, New Haven, CT, 1962-1963, no. 13.
- 1965
- Master Prints from the Rosenwald Collection, Virginia Museum of Fine Arts, Richmond, 1965, no. 44.
- 1968
- The Golden Age of the Woodcut: 1450-1550, Museum of Art, University of Kansas, Lawrence, KS, 1968, no. 70, repro.
- 1969
- Prints and drawings of the Danube School; an exhibition of South German and Austrian graphic art of 1500 to 1560, Yale University Art Gallery, City Art Museum of St. Louis, Philadelphia Museum of Art, 1969-1970, no.44, repro.
- 1969
- Symbols in Transformation: Iconographic Themes at the Time of the Reformation, Princeton University Art Museum, 1969, no. 31, repro.
- 1973
- Fifteenth- and Sixteenth-Century Prints of Northern Europe from the National Gallery of Art Rosenwald Collection, Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY, 1973, no. 62.
- 1982
- Lessing J. Rosenwald: Tribute to a Collector, NGA, 1982, no. 50, repro.
- 1990
- Eva/Ave: Woman in Renaissance and Baroque Prints, NGA, 1990, no. 53, repro.
- 2002
- Painted Prints: Renaissance and Baroque Hand-Colored Engravings, Etchings, and Woodcuts, The Baltimore Museum of Art, 2002-2003, no. 17, repro.
Bibliography
- 1802
- Bartsch, Adam. Le peintre graveur. 21 vols. Vienna, 1802-1821: vol.8, p.78, no.51.
- 1949
- Hollstein, vol.1, p.253, no.52.
- 1963
- Winzinger, Franz. Albrecht Altdorfer, Graphik: Holzschnitte, Kupferstiche, Radierungen. Munich: R.Piper and Co., 1963.
- 1969
- Yale UAG 1969, 44.
- 1982
- Fine, Ruth E. Lessing J. Rosenwald: Tribute to a Collector. Washington, DC: National Gallery of Art, 1982, no. 50.
- 1990
- Russell 1990, cat.no.53
- 1991
- Kopper, Philip. America's National Gallery of Art: A Gift to the Nation. New York, 1991: 208, color repro.
- 1993
- Wood, Christopher S. Albrecht Altdorfer and the Origins of Landscape. London, 1993: fig. 121.
- 1994
- Landau, David and Peter Parshall. The Renaissance Print, 1470 - 1550 New Haven and London, 1994: color fig.375.
- 1996
- Hults, Linda C. The Print in the Western World. Madison: University of Wisconsin Press, 1996, 110; fig.2.37 (color plate), 461.
- 1996
- The New Hollstein German Engravings, Etchings and Woodcuts, 1400-1700. (Albrecht Aldorfer, Ursula Mielke, author). Rotterdam: Sound & Vision Interactive, 1996-, no. w. 52.
- 2002
- Dackerman, Susan. Painted Prints: Renaissance and Baroque Hand-Colored Engravings, Etchings, and Woodcuts. Exh. cat. The Baltimore Museum of Art, Baltimore; The Saint Louis Art Museum, St. Louis, 2002-2003. University Park, 2002: no. 17.
- 2005
- Snyder, James. Northern Renaissance Art: Painting, Sculpture, the Graphic Arts from 1350 to 1575. Revised by Larry Silver and Henry Luttikhuizen. Upper Saddle River, 2005: 356-357, col. fig. 14.34.
- 2018
- Porras, Stephanie. Art of the Northern Renaissance: Courts, Commerce and Devotion. London: Laurence King Publishing, 2018, p. 152, fig. 88.
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