Recto: Coat of Arms of Maximilian I as King of the Romans; verso: Coat of Arms of Florian Waldauf von Waldenstein, from The Revelations of Saint Bridget

Recto: Coat of Arms of Maximilian I as King of the Romans; verso: Coat of Arms of Florian Waldauf von Waldenstein, from The Revelations of Saint Bridget

Dürer-School

An item at Metropolitan Museum of Art

Though often included among autograph works by Dürer, this woodcut is generally considered to be by someone in his workshop. Most recently Schoch, Mende and Scherbaum have suggested an attribution to the Meister der Celtis-Illustrationen . The coat of arms of Florian Waldauf von Waldenstein on the verso is by another hand.

Drawings and Prints

An exhibit at Metropolitan Museum of Art

Recto: Coat of Arms of Maximilian I as King of the Romans; verso: Coat of Arms of Florian Waldauf von Waldenstein, from The Revelations of Saint BridgetRecto: Coat of Arms of Maximilian I as King of the Romans; verso: Coat of Arms of Florian Waldauf von Waldenstein, from The Revelations of Saint BridgetRecto: Coat of Arms of Maximilian I as King of the Romans; verso: Coat of Arms of Florian Waldauf von Waldenstein, from The Revelations of Saint BridgetRecto: Coat of Arms of Maximilian I as King of the Romans; verso: Coat of Arms of Florian Waldauf von Waldenstein, from The Revelations of Saint BridgetRecto: Coat of Arms of Maximilian I as King of the Romans; verso: Coat of Arms of Florian Waldauf von Waldenstein, from The Revelations of Saint Bridget

The Department’s vast collection of works on paper comprises approximately 21,000 drawings, 1.2 million prints, and 12,000 illustrated books created in Europe and the Americas from about 1400 to the present day. Since its foundation in 1916, the Department has been committed to collecting a wide range of works on paper, which includes both pieces that are incredibly rare and lauded for their aesthetic appeal, as well as material that is more popular, functional, and ephemeral. The broad scope of the department’s collecting encourages questions of connoisseurship as well as those pertaining to function and context, and demonstrates the vital role that prints, drawings, and illustrated books have played throughout history.