'Christ on the Mount of Olives also known as (Christ's Agony in the Garden of Gethsemane)' is an etching on laid paper by Albrecht Durer. This piece is signed and dated in the plate and bears Durer's monogram. The paper bears the "Crest of Nurnberg" watermark (M. 210). A Meder IIb (of e) Impression. Meder cites use of this watermark between 1543-1560. A Certificate of Authenticity is included. This is one of only 6 images that Durer used the etching method to produce. His only experiments with etching came in this period, producing five 1515–1516 and a sixth 1518; a technique he may have abandoned as unsuited to his aesthetic of methodical, classical form. Professionally framed.

A supremely gifted and versatile German artist of the Renaissance period, Albrecht Dürer (1471–1528) was born in the Franconian city of Nuremberg, one of the strongest artistic and commercial centers in Europe during the fifteenth and sixteenth centuries. He was a brilliant painter, draftsman, and writer, though his first and probably greatest artistic impact was in the medium of printmaking. Dürer apprenticed with his father, who was a goldsmith, and with the local painter Michael Wolgemut, whose workshop produced woodcut illustrations for major books and publications. An admirer of his compatriot Martin Schongauer, Dürer revolutionized printmaking, elevating it to the level of an independent art form. He expanded its tonal and dramatic range, and provided the imagery with a new conceptual foundation. By the age of thirty, Dürer had completed or begun three of his most famous series of woodcuts on religious subjects: The Apocalypse (1498; 19.73.209, 18.65.8), the Large Woodcut Passion cycle (ca. 1497–1500), and the Life of the Virgin (begun 1500). He went on to produce independent prints, such as the engraving Adam and Eve (1504; 19.73.1), and small, self-contained groups of images, such as the so-called Meisterstiche (master engravings) featuring Knight, Death, and the Devil (1513; 43.106.2), Saint Jerome in His Study (1514), and Melencolia I (1514; 43.106.1), which were intended more for connoisseurs and collectors than for popular devotion. Their technical virtuosity, intellectual scope, and psychological depth were unmatched by earlier printed work.