Rainer Schoch, Matthias Mende, and Anna Scherbaum, Albrecht Dürer: das druckgraphische Werk (München: Prestel, 2001).
Rainer Schoch, Matthias Mende, and Anna Scherbaum, Albrecht Dürer: das druckgraphische Werk (München: Prestel, 2001).
Adam vom Bartsch, \"Volume 7,\" Le peintre graveur ... (Vienne: J. V. Degen, 1803-05).
Adam vom Bartsch, \"Volume 7,\" Le peintre graveur ... (Vienne: J. V. Degen, 1803-05).
F.W.H. Hollstein, “Dürer,” German engravings, etchings, and woodcuts, ca. 1400-1700 (Amsterdam: M. Hertzberger, 1962).
F.W.H. Hollstein, “Dürer,” German engravings, etchings, and woodcuts, ca. 1400-1700 (Amsterdam: M. Hertzberger, 1962).
\"Acquisitions 1972\", Record of the Art Museum, Princeton University 32, no. 1 (1973): p. 20-30.
","citation":"\"Acquisitions 1972\", Record of the Art Museum, Princeton University 32, no. 1 (1973): p. 20-30.
, p. 21","date":1973,"id":3442,"uri":"https://www.jstor.org/stable/3774431"},{"boilertext":"Allen Rosenbaum and Francis F. Jones, Selections from The Art Museum, Princeton University, (Princeton, NJ: The Art Museum, Princeton University, 1986)","citation":"Allen Rosenbaum and Francis F. Jones, Selections from The Art Museum, Princeton University, (Princeton, NJ: The Art Museum, Princeton University, 1986), p. 145 (illus.)","date":1986,"id":1899,"uri":"https://search.worldcat.org/title/14244748"}],"nowebuse":"False","periods":[],"department":"Prints and Drawings","attribute_groups":[{"id":2199327,"term":"Prints and Drawings","termtype":"Collecting Area"}],"daterange":"A.D. 1000-1500","dateend":1498,"depicted":[],"titles":[{"title":"The Holy Family with Three Hares","titletype":"Primary Title","displayorder":1}],"hasimage":"true","creditlinerepro":null,"objectnumber":"x1972-13","inscribed":"Monogram in block, lower center: AD","texts":[{"texttype":"Online","textpurpose":"Multivocal Label","textentryhtml":"\n\tIt is a humbling delight to be in the presence of a Dürer print and a rare privilege to see the original block from which it was printed. This relic provides a window into Dürer’s process. The depth and texture of marks left behind by carving tools bring the maker’s labor to life. During the fifteenth century, woodcut was valued less for its expressive effects than as a means of reproducing drawings to make them widely available. For this woodcut, Dürer drew an image onto a woodblock. Then he, or a professional block cutter, used a knife to carve away the wood around the drawn lines. Printers then applied ink to the raised surface of the block and placed paper onto it, using a press to apply even pressure. Pulling the paper from the woodblock revealed a printed mirror image of the original drawing. This process was repeated to make numerous impressions.\n
\n\n\tRebecca Gilbert, Printmaker\n
","remarks":"\r\n\r\nEUR2_02-05_WLA-Day 1 Cataloguing (group chat for x1967-111, x1972-13) \r\n"},{"texttype":"Online","textpurpose":"Provenance","textentryhtml":"Baron Hans von Aufsess (1801–1872, Lugt 2749).\nKennedy Galleries, New York; purchased by friends, colleagues and students\nof Erwin Panofsky\nand gifted to the Princeton University Art Museum, 1972.","remarks":null}],"datebegin":1497,"sortnumber":"1972 13x","published_date":"2026-02-11 08:45:54.589725","objectid":12500,"dimensions":"block (sheet trimmed to block): 39.1 × 28.1 cm (15 3/8 × 11 1/16 in.)","on_view":true}