The Cook and His Wife - Albrecht Dürer
Archival giclée
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Description
A detailed engraving by Albrecht Dürer depicting a cook and his wife, rendered with the artist's characteristic precision and line work.
Albrecht Dürer produced this engraving, known as The Cook and His Wife, during the late fifteenth century. The work depicts a couple standing in a simple, unadorned space. The man, portrayed with a stout physique, holds a long-handled pan, which serves as a clear indicator of his profession. His attire includes a knife tucked into his belt, further identifying his role in the kitchen. Beside him stands his wife, dressed in the modest clothing typical of the period, including a head covering and a long, draped gown. Dürer employs precise, controlled lines to define the forms and textures of the figures. The cross-hatching technique creates depth and volume, particularly in the folds of the clothing and the contours of the man's body. The composition is balanced, with the two figures occupying the majority of the frame. The artist includes his characteristic monogram at the bottom centre, a mark of his authorship that became standard in his printmaking practice. This engraving belongs to a period when Dürer was exploring the potential of the copperplate medium to capture fine detail and tonal variation. Unlike his later, more complex allegorical works, this piece focuses on a straightforward observation of everyday life. The interaction between the two figures is minimal, yet their presence is rendered with a high degree of technical skill. The background remains largely empty, directing the viewer's attention entirely to the subjects. The work provides a glimpse into the social and sartorial conventions of the time, presented through the lens of Dürer's mastery of line and form. It remains a clear example of the artist's ability to elevate mundane subjects through technical precision and careful observation.
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. EU customers have a 14-day cooling-off right. 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.
The Cook and His Wife - Albrecht Dürer
Our Features
Designed for Lasting Impact
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
- Choose poster, framed print, canvas or framed canvas
- 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
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Artist Biography
Albrecht Dürer
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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