After an anonymous woodcut (possibly by Dürer) in Sebastian Brant's Narrenschiff, Basel, 1494. One of the great themes in Renaissance literature is that of over-reaching ambition, for example, the tragedy of Macbeth, who tries to avoid his fate. This humorous treatment shows foolish men turning into asses because of this sin. The most complete ass has a crown. They fail to understand that the Wheel of Fortune is turned by the hand of God; they will all end up in the grave with the rest of us, as the coffin and open grave awaiting them signify.

A limited edition (250) linoleum block print.

Open edition engraving after a woodcut by Michael Wolgemut in Liber Chronicarum by Hartmann Schedel printed by Anton Koberger, Nuremberg, 1493.

Open edition engraving. Black ink only.

After a woodcut by Albrecht Durer, Nuremberg, circa 1496. Conquest, War, Judgement, and Death. The scene illustrates the passage in The Revelation of Saint John wherein Judgement Day is prophecied. The first rider, on the white steed of conquest, is farthest to the right. The second rides the red roan horse of war, the third the black horse of famine. The fourth, closest to the viewer, rides the pale horse of death. These four were given authority over one quarter of the earth to kill with bow, sword, famine, plague and the wild beasts of the earth. This scene, and uncertain medieval security (when the sound of horses at night was the sound of an attack) illustrate why terrifying dreams have long been called “nightmares”.

Limited edition serigraph from a hand-cut stencil. Black ink only.

After a woodcut by Albrecht Durer , Germany, 1513
A Knight in his armor appears to be invulnerable to the rotting corpse of Death riding beside him and the horned Devil behind. He seems to be riding through "the valley of the shadow of death" toward the light of salvation.

Open edition offset reproduction. BlackTone ink only.

Image size: 17 x 13
Matted size: 23 x 18

After a woodcut by Peter Flötner, Gotha, circa 1535.
The Artisan is depicted as the Devil's fool in this mock heroic satire. The unicorned pig tramples the tradesmans' tools: it seems that every generation bemoans the lack of craftsmanship compared to the good old days.

A limited edition (250) screen print from a hand-cut stencil. Black ink only.

After a woodcut by Albrecht Durer , Germany, 1514
The great variety of tools represents the arts, and the polyhedron and sphere are linked to geometry, the basis of all art. Talented people such as Durer saw themselves as melancholics, under the influence of the planet Saturn. The bat represents negative influences and the putto industrious forces. The hourglass, magic square and scales reflect divine creation.

Open edition offset reproduction. Black Tone ink only.

© 2006 by Allen Bjorkman

Image size: 17 x 13
Matted size: 23 x 18

From "The Army Train" by Erhard Schoen, Dresden, 1532.
Death, on horseback, harvests new recruits: one soldier wears the pointed cap of the Muslim, the other the hat of the Christian mercenary. There is but one winner in the game of war.

Image redrawn and produced as an open edition engraving. Black ink only.

After a 1536 maiolica plate painted in Casteldurante.
Perhaps a satiric (!) portrait of the poet Pietro Aretino, this is certainly one of the strangest "portraits" of a poet ever made. It was a reaction to Marcantonio Raimondi1s engravings and the lewd sonnets by Aretino that accompanied their republication (and, of course, subsequent censorship) as I Modi in 1527. This bizaar image of a head is comprised entirely of penises. The text is in retrograde, meaning Aretino is going the wrong way. IZAC ED ATSET ANU ESSOF EMOC ADRAUG EM EMOH INGO translates as DAEHKCID A EREW I FI SA EM TA KOOL ELPOEP. Read forward, "Ogni homo me guarda come fosse una testa de cazi" translates as "People look at me as if I were a dickhead". (Also see Woman With Dildo).

Limited edition linoleum block print.
Low resolution JPG image sent on request to patrons over 18 years of age.

Image Size: 6" x 6"
Matted Size: 12" x 12"

After a woodcut in a broadside, Basel, August 7, 1566.
At the time of the sunrise, "many large black globes were seen in the air, moving before the sun with great speed, and turning against each other as if fighting. Some of them became red and fiery and afterwards faded and went out."

A limited edition Linoleum block print.