A hand-coloured woodcut by Urs Graf the Elder, depicting the biblical miracle of the Raising of Lazarus with characteristic Northern Renaissance detail.

This hand-coloured woodcut by Urs Graf the Elder depicts the biblical narrative of the Raising of Lazarus. As a prominent figure in the Swiss Renaissance, Graf employed a graphic style characterised by energetic line work and a distinct approach to spatial composition. The scene is divided into multiple planes, with the primary miracle occurring in the foreground near the mouth of the tomb, while the background provides a topographical view of Jerusalem and Bethany.

Graf uses the woodcut medium to define form through dense hatching and cross-hatching, which creates a sense of volume within the figures. The application of colour, likely added by hand shortly after the printing process, provides a muted palette that separates the figures from the rocky terrain. The composition is typical of early sixteenth-century printmaking, where the narrative is presented in a continuous manner, allowing the viewer to follow the sequence of events across the page.

Technically, the work demonstrates the precision required for woodblock carving during this period. The figures are rendered with a focus on gesture and expression, capturing the reaction of the onlookers as Lazarus emerges from the grave. The inclusion of labels, such as 'Hierusalem' and 'Lazarus', reflects the didactic nature of religious prints intended for a wider audience. This piece offers a view into the visual culture of the Swiss Reformation era, where such prints were circulated to communicate theological stories. The paper shows signs of age, consistent with its historical origin, providing a tangible connection to the early print workshops of Basel.