Title Page of the Apocalypse - Albrecht Dürer
Archival giclée
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Description
A 1511 woodcut by Albrecht Dürer, featuring the title page for his Apocalypse series with Saint John the Evangelist and the Virgin and Child.
This woodcut serves as the title page for the 1511 edition of Albrecht Dürer's Apocalypse series. The composition is divided into two distinct sections. At the top, the title 'Apocalipsis cum Figuris' is rendered in a bold, gothic blackletter script, embellished with flourishes that demonstrate the artist's mastery of calligraphic design.
Below the text, the scene depicts Saint John the Evangelist seated on the island of Patmos. He is shown in the act of writing his vision, accompanied by his traditional attribute, the eagle. To his right, the Virgin Mary appears in a celestial vision, crowned and holding the Christ Child. She is positioned upon a crescent moon, surrounded by a radiating halo of light. The contrast between the grounded, human figure of the saint and the ethereal, divine presence of the Virgin is achieved through Dürer's precise use of line work.
The woodcut technique allows for a high degree of detail, particularly in the rendering of the drapery and the atmospheric quality of the light surrounding the Virgin. This print represents a significant moment in the history of book illustration, as Dürer took full control over the production of his own works, ensuring that the visual narrative was as important as the printed text. The work reflects the technical rigour of the Northern Renaissance, where the artist's ability to translate complex theological concepts into accessible imagery was highly valued. The print remains a primary example of Dürer's influence on the development of printmaking as an independent art form in Europe.
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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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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
Title Page of the Apocalypse - 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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