Christ as the Man of Sorrows
Lucas Cranach the Younger (?)
Kunstsammlungen Boettcherstraße, Bremen
27.09.2016 - 20:53
Christ as the Man of Sorrows
Lucas Cranach the Younger (?)
Ludwig Roselius Museum, Bremen
27.09.2016 - 20:53
Choose objects with for comparison
Painting:
CDA ID / Inventory NumberDE_KBSB_B56
Persistent Linkhttp://lucascranach.org/DE_KBSB_B56
FR (1978) No.FR381F
Title:
Christ as the Man of Sorrows[Exhib. Cat. Bremen 2009, No. 23]
Attribution:
Lucas Cranach the Younger (?)[Exhib. Cat. Bremen 2009, No. 23] [Exhib. Cat. Frankfurt 2007, No. 60]
Lucas Cranach der Ältere [Winkler, Plambeck 1930, 23]
Hans Kemmer [Habicht 1931, 11]
Hide content...
Dating:
about 1537[Exhib. Cat. Bremen 2009, No. 23]
Owner / Repository / Location:
OwnerFreie Hansestadt Bremen, Stadtgemeinde
RepositoryKunstsammlungen Boettcherstraße, Bremen
LocationBremen
Dimensions:
Dimensions of support: 51.2 x 34.5 x 1.3 cm Dimensions with frame: 68.5 x 52 x 10.5 cm [Museum im Roselius-Haus, revised 2013]
Support:
Beech wood [Klein, Report 2003] [Exhib. Cat. Bremen 2009, No. 23]
Signature / Date:
None
Inscriptions, Marks, Labels, Seals:
Original Inscriptions:
- top right, in part illegible: 'Jesus [...] [...] Doch und trincke nur [...] sonst Fort fort und gib dein Herze mir Mein Blut solls laben für und für Und bringen hin Zur himmells Zier, Der Mensch Jesus Seite thut sich weit zu mir auff. Sein Blut das schreijt wem da dürstet der komm hehr. Jesu! Auch mich dürstet sehr, trancke aus der Seiten hohl deiner wunden meine Seel die ich deinem Blut befehl.' [Exhib. Cat. Bremen 2009, No. 23] The text, applied in gold with a brush, is extensively abraded and illegible up to the first line of the quotation. Even infrared reflectography carried out by Ingo Sandner in 2007 did not help to decipher it. It is not original and was probably added in the 17th century. [Iris Ritschel: Christus als Schmerzensmann, no date, type written manuscript in the archive of the Kunstsammlungen Böttcherstraße, Bremen]
Inscriptions, Marks, Labels, Seals:
Recto: - bottom right: in white: 'No. 258' - directly beneath the 58: '69' Reverse of the panel: - bottom left: rectangular paper label with white text: 'Inv. Nr. 56' (below the left block, 2.4 cm from the left edge of the panel) - bottom right: red circular paper label with a black printed text around the edge; dark brown printed text running around the edge: 'Roselius Haus Bremen' (in the centre the museum's logo), 13.4 cm from the left edge of the panel and 25 cm from the bottom edge. - centre: circular paper label: 'Roselius Haus Bremen' - centre: rectangular paper label, printed in black: '33' (cross-out in faint black) - top left: (above the first block from the left at the top) written in black: 'LR 56', - on the right, beside this: printed in black: 'Rosel[..]' - beneath the above: '513' crossed-out Formerly (until 2003) there was a further printed paper label on the reverse of the panel, which documented the reframing of the painting by the fram manufacturer F.G. Conzen in Düsseldorf before 1934: 'F. G. Conzen, Düsseldorf. No. [...] königl. Preuß. Fürstl. Hohenzollern'scher u. Fürstl. Schaumburg-Lippischer Hoflieferant Poststraße 1a u. 1b Spiegel- Bilderrahmen- und Leistenfabrik Kasernenstr. 13 (zur Nachbestellung genügt Angabe der Nummer)' [Museum im Roselius-Haus, revised 2013]
Description:
The panel depicts a half-length figure of the Man of Sorrows against a dark background. Christ looks directly at the viewer and inclines his head to one side while he presents his wounds. Christ wears a crown of thorns and holds a bunch of rods used for scourging in his left hand. [Görres, cda 2012]
Provenance:
- 1919 Galerie Alfred Flechtheim, Düsseldorf
- in September 1928 acquired by Ludwig Roselius from Arthur Hauth, Düsseldorf with the assistance of Johannes Hinrichsen, Berlin
- 1988 acquired by the borough (Stadtgemeinde) of Bremen


[Exhib. Cat. Bremen 2009, No. 23]
Exhibitions:
- Frankfurt 2007, No. 60
- Bremen 2009, No. 23
Sources / Publications:
Reference on PageCatalogue NumberFigure/Plate
Exhib. Cat. Bremen 200923
Exhib. Cat. Frankfurt 2007240-24160p. 241
Friedländer, Rosenberg 1979307E
Cat. Bremen 197920
Müller Hofstede 1969
Cat. Bremen 196920
Friedländer, Rosenberg 193287
Habicht 1931111
Winkler, Plambeck 193023
Kain 1928
Flechtheim 1919p. 88
Material / Technique:
  • Date: 2013
  • Technical Examination
  • Framing
  • The frame is not original, but is based on ag contemporary frame.
    Description: coniferous wooden members stained black with a cornice profile and rounded battens, which cross at the mitres (gilded). Gold coloured round battens with gold inserts, the bottom batten is champfered and painted black, with an engraved label 'Lucas Cranach d. Ä. 1472–1555'

    68.5 x 52 x 10.5 cm

    [Museum im Roselius-Haus, revised 2013]
      • Date: 01.10.2010
      • Technical examination / Scientific analysis
      • Infrared reflectography
      • Christ as the Man of Sorrows
      • Underdrawing
      • - an underdrawing is not readily visible; some chalk lines defining form are visible in Christ’s left hand

        [Smith, Sandner, Heydenreich, cda 2012]
        • photographed by: Ingo Sandner
        • photographed by: Gunnar Heydenreich
        • Date: 2009
        • Technical examination / Scientific analysis
        • Infrared reflectography
        • Underdrawing
        • The long, free lines of the underdrawing delineating contours are visible to the naked eye. These were executed with a brush in a diluted medium e.g. ink made with soot-black.
          [Exhib. Cat. Bremen 2009, No. 23]
            • Date: 2003
            • Scientific analysis
            • Identification of wood species / Dendrochronology
            • Support
            • Beech wood panel consisting of two planks:

              Plank 1 = 111 annual rings (15301420)
              Plankt 2 = 41 annual rings (14651425)
              Plank 1 is from the same tree as the wood used for the following panels:

              - 'Duke Johann Ernst of Saxony' (15211533), Cranach workshop, [Berlin] Inv. No. II 55;
              DE_smbGG_55-2 _FR-none
              - 'Dr. Martin Luther' (1483546), Cranach workshop, [Berlin] Inv. No. 619 [possibly incorrect]; DE_smbGG_617_FR314-315F [possibly also: Philipp Melanchthon, Berlin, Inv. No. 619; DE_smbGG_619_FR314-315F
              - 'The Ill-matched Pair', Cranach workshop, [Berlin] Inv. No. 1606; DE_smbGG_1606_FR-none
              - 'Martin Luther', Fürstenberg-Sammlungen, Donaueschingen, Inv. No. 727;
              - 'Electors of Saxony', (left and right wings), Hamburger Kunsthalle, Inv. No. 606, DE_HKH_HK-606a_FR338; DE_HKH_HK-606c_FR338
              - 'Lucretia', Gemäldegalerie Berlin, Inv. No. 1832, DE_smbGG_1832_FR239
              - 'Eve', Chicago, Inv. No. 1935.295
              - 'The Departure of the Apostles', (Planks II and III), Stockholm, Inv. No. 254
              - 'Portrait of a Man' (Planks I and II), Kansas City, Inv. No. 31-112, US_NAMAKC_31-112_FR415

              The most recent annual ring is from the year 1531.

              The cradle consists of two moveable horizontal members. Five blocks differing in size have been glued onto both the right and left side. Further blocks were glued above the join on the lower part of the panel.

              With beech wood the entire cross-section is normally used and only the bark is removed therefore it may be assumed that the tree was felled no earlier than 1531. assuming the wood was seasoned for at least two years then painting can not have been created before 1533.

              [ Prof. Dr. Peter Klein: Report of dendrochronological examination of the panel 'Christ as the Man of Sorrows' (L. Cranach, Inv. No. B 56) from 8.9.2003, Archive of the Kunstsammlungen Bötcherstrasse, Bremen]
              • examined by: Peter Klein
              Condition Reports:
              • Date: 2009
              • The text, applied in gold with a brush, is extensively abraded and illegible up to the first line of the quotation. Even infrared reflectography carried out by Ingo Sandner in 2007 did not help to decipher it. It is not original and was probably added in the 17th century. [Iris Ritschel: Christus als Schmerzensmann, no date, type written manuscript in the archive of the Kunstsammlungen Böttcherstraße, Bremen]
                • Date: 1992
                • - numerous fills and retouches, glazed overpaint along the join - the original varnish has not been preserved; the thick, glossy varnish is a later addition [ Petra Klier (Hamburg): Documentation, 1992, Archive of the Kunstsammlungen Böttcherstraße, Bremen ]
                  History of Restoration:
                  • Date: 1982
                  • - 1982 by Renate Kant, Hamburg [ Iris Ritschel: Christus als Schmerzensmann, no date, type written manuscript in the archive of the Kunstsammlungen Böttcherstraße, Bremen]
                  • conservation treatment by: Renate Kant
                  • Date: 1934
                  • - at least one restoration treatment was carried out before 1934 (according to the written correspondance from the restorer Herbert Wernicke to Ludwig Roselius from 15.4.1934 two varnish layers were removed from the recto of the painting in 1934 and small retouches were renewed. However the glazes of the flesh paint also appear to have been added, because they intersect the contours of the body in places and overlap the dark background. Accordingly there must have been an ealier intervention before the restoration by Herbert Wernicke) - 1934 by Herbert Wernicke, Bremen [ Iris Ritschel: Christus als Schmerzensmann, no date, type written manuscript in the archive of the Kunstsammlungen Böttcherstraße, Bremen]
                  • conservation treatment by: Herbert Wernicke