The Virgin with a Starry Crown - Albrecht Dürer
Archival giclée
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Description
A masterful 1508 engraving by Albrecht Dürer depicting the Virgin Mary with the Christ Child, characterised by precise line work and traditional iconography.
Albrecht Dürer produced this engraving, The Virgin with a Starry Crown, in 1508. It represents a mature phase in his printmaking career, where his technical command of the burin allowed for subtle tonal gradations and precise modelling of form. The composition follows the traditional iconography of the Virgin of the Apocalypse, standing upon a crescent moon with the Christ Child held in her left arm. Her head is adorned with a crown of stars, and a radiant mandorla surrounds her figure, suggesting a celestial presence.
Dürer employs a sophisticated system of hatching and cross-hatching to define the voluminous folds of the Virgin's drapery. The contrast between the deep shadows within the fabric and the bright, unworked areas of the paper creates a sense of physical weight and volume. Her hair flows in long, undulating lines, demonstrating the artist's ability to render texture through controlled, rhythmic strokes. The Christ Child reaches towards an apple, a symbolic reference to the fall of man and the subsequent redemption through his sacrifice.
The inclusion of the date and the artist's monogram, the AD, is positioned clearly in the lower right corner. This work demonstrates the Northern Renaissance interest in combining naturalistic observation with theological symbolism. The lines are clean, sharp, and purposeful, reflecting the high standards of German printmaking during the early sixteenth century. The print remains a clear example of Dürer's mastery over the medium of engraving, where every mark serves to build the structure and light of the scene without unnecessary ornamentation. The focus remains on the solemnity of the figures and the clarity of the narrative, presented with a technical rigour that defined Dürer's output throughout his career.
Return policy
Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
The Virgin with a Starry Crown - Albrecht Dürer
Artist Biography
Albrecht Durer
He was born in Nuremberg, the son of a Hungarian goldsmith. He trained as a goldsmith himself before apprenticing with the painter and printmaker Michael Wolgemut. The metalwork training gave him the manual precision that made his prints extraordinary. Melencolia I, Knight, Death and the Devil, and Saint Jerome in His Study, all made between 1513 and 1514, are among the finest engravings ever produced. The density of cross-hatching, the control of tonal gradation, the rendering of fur, feathers, and stone: these are virtuoso performances in a medium that most artists treated as reproductive.
He drew a rhinoceros from a description and a sketch sent by letter. He had never seen one. Dürer's Rhinoceros (1515) is anatomically wrong in several respects (the animal has an extra horn and armour plating) but it remained the standard European image of a rhinoceros for three centuries.
He was one of the first artists to paint self-portraits as a primary subject. The Self-Portrait at Twenty-Eight (1500) shows him facing the viewer directly, with long hair and a fur coat, in a pose traditionally reserved for Christ. It was either an act of supreme confidence or deliberate blasphemy. Probably both.
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