List of paintings by Albrecht Dürer

The following is an incomplete list of paintings by the German painter and engraver Albrecht Dürer.

Legend for the table The reproductions are coming for the most part from the online catalogues of the institution the work is held (or at least the best reproductions available on Wikimedia Commons). Articles at the beginning of some titles are dropped for better sortability. Paintings that belong together are not always joined, except for the occasional back sides of paintings. Secondary specifications are in small font. The original medium is mentioned first and stated as just "color", if there is no specific statement that the medium was actually proven to be oil; modifications that represent the current state are stated subsequently. In the case of Dürer the time spans are not likely to represent the duration spent working on the picture, instead usually signifies the (ideally most recent) estimated date by scholars for a work, that has no year stated by Dürer's own hand (usually with his monogram "AD") and/or decisive source. The small types under the date indicate at least some identification and are to be read as follows: d : original date by Dürer's hand on the panel at the time of the work's completion m : original monogram "AD" by Dürer's hand on the panel + : dated and signed with full name (with or without monogram), and additional text in German or Latin. Text and translation are quoted as reference. i : date and monogram with occasionally additional text veristically integrated into the picture (e. g. in form of a painted piece of written paper or a plate, often held by Dürer himself) p : preparatory drawings have survived w : sourced by Dürer's own writing or other trusted written testimony, like communal archives, letters by contemporaries or collection inventories, that scholars universally agree upon l : later dated, monogrammed or inscribed by Dürer's hand ("mlw" would mean no date, later monogram, documented by written sources) f : anything of a different hand than Dürer's of a (most probably always) later date (e. g. "dfwf" means later date and text by a foreign hand) c : authenticity challenged by several scholars and not yet invalided (e. g. "mcw" would mean the work is well sourced but the monogram seemed to be for some students not by Dürer's hand) — : not signed or referenced anywhere, still the attribution to Dürer solely on stylistical grounds is universally accepted ("—c" if challenged) c : not signed or referenced anywhere, however known through copies

For the current location the city is mentioned first, it is most unambiguous and allows to combine multiple galleries of that city. The gallery where the work is displayed is mentioned second, followed by the name of the actual superordinate collection owning the work (on first appearance in the list only). The inventory number of the object in brackets is (ideally) linked to the entry in the online catalogue of the collection if available. The last column gives the number of the catalogue raisonné of Dürer's paintings, which Fedja Anzelewsky, lifelong affiliated with the Kupferstichkabinett Berlin, compiled and published in 1971, and revised 20 years later. The legend for the four different capitals following the chronological numbering is as follows: K ("Kopie") only survived as copy V ("verschollen") for lost but known through writings Z ("Zeichnung") painting that only survived in drawings W ("Werkstatt") workshop painting

Image Title Year Medium Dimensionsh × w in cm Location, Gallery,Collection (Inv. nr.) CRnr. Portrait of Dürer's Fatherdiptych, right wingback side:Combined Coat of Arms of the Dürer and Holper Families 1490dmlwcAttributed by Kemperdick to Dürer's father as a self-portrait on the basis of circumstantial arguments and great stylistic similarities to his self-portrait drawing that could have then functioned as a preparatory drawing. In addition, its differences in style to the Portrait of Barbara Dürer cannot be entirely explained by slightly different dates. . Oil on panel 47.5 × 39.547 × 39 Florence, Uffizi (1086 (1890 post), 00286561) 2–3 The original tif file of the owner, Germanisches National Museum (Photo: Georg Janßen), on Wikimedia Commons (in public domain) has 91 MB. Portrait of Barbara Dürerdiptych, left wingback side:"Rocky Landscape with Dragon",Städel catalogue 2013, p. 100. or "Hell resp. Purgatory scene"On the museum's website. 1490—w Oil on panel 47.2 × 35.7 Nuremberg, Germanisches Nationalmuseum, Bayerische Staatsgemäldesammlungen (Gm1160) 4Believed to be lost, but recovered in 1977.4.1Included in 2. edition 1991 as the Devil fleeing into a crevice (Der Teufel flieht in eine Felsspalte), S. 119f. The Miraculous Salvation of a Drowned Boy in Bregenz 1497/98—cFirmly ascribed to Dürer again as a work of "shortly after 1490", particularly on the basis of similarities of its underdrawing and painting style with the Portrait of Barbara Dürer by . Color on panel(spruce) 41.5 × 50 Kreuzlingen (Switzerland), Heinz Kisters Collection (no website) 5 Christ as the Man of Sorrowsback side:"Agate cut or Lightvision"Städel catalogue 2013, p. 70. — Oil, tempera and gilding on panel(pinewood) 30 × 19 Karlsruhe, Staatliche KunsthalleWhile the Kunsthalle is being renovated the Dürer panel is displayed in the ZKM (as of June 2024). (2183) 9∅ Self-Portrait (Portrait of the Artist Holding a Thistle) 1493d+c"1493 / Min Sach die gat / Als es oben schtat" (My affairs will go as it stands above) Oil on parchment transferred to canvasIt was not unusual at the time to use parchment mounted on the panel instead of a primer as a simpler way to prepare the surface of the panel. It also allowed to copy the preparatory drawing before being mounted. 56.5 × 44.5 Paris, Musée du Louvre (RF 2382) 10 Jesus Child as Redeemer 1493dmMonogram with a small "d", "৳ 1493 ৳ Ad ৳". Bodycolor and gold on parchment 11.8 × 9.3 Vienna, Albertina () 11 Lion 1494dmMonogram with a small "d". Bodycolor, watercolor on parchment 12.6 × 17.2 Hamburg, Kunsthalle (23005) 12 Virgin and Child before an Archway (Bagnacavallo Madonna) — Oil on panel 47.8 × 36.5 Mamiano di Traversetolo near Parma, Magnani-Rocca Foundation (?) 16 Virgin and Child Before a Landscape /97— Oil on panel 89 × 74 Schweinfurt, private collection Georg SchäferAs of 1971. 17 Seven Sorrows Polyptych /96—wc Oil on panel(pinewood) 63 × 44.5–46.5each side panel110 × 43.6central panel Dresden, Gemäldegalerie Alte Meister (1875–1881)(seven surrounding panels)Munich, Alte Pinakothek, Bayerische Staatsgemäldesammlungen (709) (central panel) 21–2720 Saint Jerome in the Wildernessback side:Heavenly Scene — Oil on panel(pearwood) 23.1 × 17.4 London, National Gallery (NG6563) 14–15 Portrait of Elector Frederick the Wise of Saxony 1496mlf Tempera on canvas 76 × 57 Berlin, Gemäldegalerie, Berlin State Museums (557C)Not to be found in the online catalogue of the SMB (as of June 17, 2024). 19 Dresden Altarpiece 1496 Tempera on canvas 114 × 45each wing114 × 96.5central panel Dresden, Gemäldegalerie Alte Meister (1869) 39–40[c]The central panel is recognized only as copy by Master Jhan(?). Anzelewsky 1971, p. 134ff. Haller Madonnaback side:Lot and His Daughters /99+The coat of arms in the lower corners are those of the Haller family (l) and Koberger (r). Oil on panel 52.4 × 42.2 Washington, National Gallery of Art, Samuel H. Kress Collection (1952.2.16.a, b) 43–44 Portrait of a Young Woman with Her Hair Down(formerly believed to be a Fürleger) 1497—cSee next entry (46). Watercolor on canvas () 56.3 × 43.2 Frankfurt, Städel (937) 45K Portrait of a Young Woman with Her Hair Done Up(formerly believed to be a Fürleger) 1497—cThe copy at the Museum der bildenden Künste, Leipzig, shows a monogram in the open book of the statuette on the reveal; also missing in the supposedly original in Berlin the inscription on the sheet of paper on the wall at the top right reads: "Also pin ich gestalt / Jn achcehe Jor altt / .1.4.9.7." (I am 18 years old). The Fürleger insignia below is a later addition, also in the Portrait of a Young Woman with Her Hair Down. Watercolor on canvas () 56.5 × 43.1 Berlin, Gemäldegalerie (77.1) 46 Portrait of a Man 1497/98— Color on parchment on panel(oakwood) 25.7 × 20.5 Kreuzlingen (Switzerland), Heinz Kisters Collection (no website) 47 Portrait of Dürer's Father at 70copyUnusual bright background color, and a thick layer of paint that produced cracks in the surface, uncommon for works by Dürer. See full description on the museum's website. 1497dm+cGerman inscription on top: "1497 ALBRECHT THVRER DER ELTER VND 70 IOR" (Albrecht Thurer the Elder and 70 Years [old]). Oil on panel(limewood) 51 × 40.3 London, National Gallery (NG1938) 48Anzelewsky understands the portrait of his father as a companion piece to the following Prado Self-Portrait (49). Anzelewsky, S. 150f. Self-Portrait at 26 1498dm+wcInscription in German: "৳ 1498 ৳ Das malt Ich nach meiner gestalt / Ich war sex und zwanzig jar alt / Albrecht Dürer / AD" (I painted this after my likeness. I was 26 years old). Oil on panel 52 × 41 Madrid, Museo del Prado (P021791) 49Anzelewsky understands both paintings, the portraits of his father and of Dürer himself as a diptych. Anzelewsky, S. 150f. Lamentation (Holzschuher Lamentation) 1499/1500 Color on panel 150 × 120.6 Nuremberg, Germanisches Nationalmuseum (Gm165) 55 Portrait of Oswolt Krell 1499di"∗OSWOLT KREL∗~ / ·1499·" Color on panel(limewood) 49.7 × 38.9central panel49.4 × 15.7 (l)49.8 × 15.6 (r) Munich, Alte Pinakothek (WAF 230, 230 A, 230 B) 56–58 Portrait of an Unknown Man in a Red Gown ("St Sebastian")The broken arrow in the sitter's hand was formerly believed to signify an identification with the Saint. The painting is heavily compromised, the head originally was covered with a contemporary hat, instead an inscripted halo was added ("Sanctus Sebastianus Martyr"), and the fur collar was considerably broadened. For Anzelewsky the landscape is undoubtedly by Dürer. Anzelewsky, p. 161, with an explanatory drawing. — Oil on panel 52 × 40 Bergamo, Accademia Carrara (469 not found) 59 Portrait of Hans Tucherdiptych, left wingback side:Combined Coat-of-Arms of the Tucher and Rieter Families 1499 Oil on panel 28 × 24 Weimar, Schlossmuseum, Klassik Stiftung Weimar (G 31) 60–61 Portrait of Felicitas Tucher (née Rieter)diptych, right wing 1499 Oil on panel 28 × 24 Weimar, Schlossmuseum (G 32) 62 Portrait of Elsbeth Tucher (née Pusch)diptych, left wing with the Portrait of Nikolaus Tucher lost 1499dmf+"ELSPET · NICLAS · TVCHERIN · 26 ALT / 1499" ("IN" and "ALT" contracted). The hardly recognisable monogram above the hand may be from another hand; on the clasp "NT", the initials of her husband Nikolaus Tucher; on the ribbon holding her haircloth "MHIMNSK", undecrypted, like the "WW" woven in her shirt. Color on panel(limewood) 29.1 × 23.3 Kassel, Gemäldegalerie Alte Meister, Wilhelmshöhe Palace, Hessen Kassel Heritage (GK 6) 63;64/65VLost portrait of her husband Nikolaus Tucher and a coat-of-arms on the reverse. Anzelewsky 1971, p. 63f. Self-Portrait with Fur-Trimmed Robe 1500dm+wc"Albertus Durerus Noricus / ipsum me propriis sic effin / gebam coloribus aetatis / anno XXVII." Color on panel(limewood) 67.1 × 48.9 Munich, Alte Pinakothek (537) 66 Hercules Killing the Stymphalian Birds 1500f? Watercolor on canvas 84.5 × 107.5croppedAnzelewsky proposed the original form to be an ogival or a round arched field of a wall; it would have shown all three "birds" in full. Anzelewsky 1971, p. 168–170. Nuremberg, Germanisches Nationalmuseum (Gm 166) 67 Paumgartner Altarpiece Nativity Georg Paumgartner as St George (inner left wing)