Inscribed by the artist in brown ink along the upper edge, “RHINOCERON 1515” and along the lower edge with a note probably transcribed from a newsletter:
“Ite[m] in 153 jor adi i maÿ hat man unserm küng van portigall gen lisabona procht ein sold lebedig tir aws India das nent man Rhynocerate das hab ich dir von Wunders wegen müssen abkunterfet schicken hat ein farb wÿ ein / krot vnd van dicken schaln überleg fast fest vnd ist in d[e]r gros als ein helffant aber nÿdrer vnd ist des helfantz tott feint es hat for[n] awff der nasen ein starck scharff hore[n] und so dz tir an helfant Kumt mit jm zw fechten so hat es for albeg sein / hore[n] an den steinen scharbff gewestzt vnd lauff dem helfant mit dem Kopff zwischen dy fordere[n] pein dan reist es den helfant awff wo er am düsten hawt hat vnd erwürgt jn also der helfant fürcht jn ser übell den Rhÿnocerate dan er erwürgt jn albeg wo er den helfant aukumt dan er ist woll gewapent vnd ser freidig und behent D[a]z tir würt Rhinocero in greco et latino Indico vero gomda“
Translation:
“In the year 15[1]3 [this should read 1515] on 1 May was brought to our King of Portugal in Lisbon such a living animal from India called a Rhinocerate. Because it is such a marvel I considered that I must send this representation. It has the colour of a toad and is covered all over with thick scales, and in size it is as large as an elephant, but lower, and is the deadly enemy of the elephant. It has on the front of the nose a strong sharp horn: and when this animal comes near the elephant to fight it always first whets its horn on the stones and runs at the elephant with his head between its forelegs. Then it rips the elephant where its skin is thinnest and then gores it. The elephant is greatly afraid of the Rhinocerate; for he always gores it whenever he meets an elephant. For he is well armed, very lively and alert. The animal is called rhinoceros in Greek and Latin but in India, gouda”

• British Museum Kunstwerkkennung: P_SL-5218-161 
• WGA Werk ID: d/durer/2/11/4/09rhinoc 
• Drawings of Albrecht Dürer, S. 41