Female Portrait

Female Portrait

Titles

Female Portrait

[Kunsthistorisches Museum, revised 2012]

Portrait of a Woman (a Hoffmann by birth from Leipzig?)

[Exhib. Cat. Vienna, Munich 2011, No. 74]

Painting on limewood (Tilia sp.)

Medium

Painting on limewood (Tilia sp.)

[Kunsthistorisches Museum, revised 2012]

The female portrait was conceived as a pendant to the portrait of her husband (AT_KHM_GG885_FR429). Therefore she occupies, as was typical at that time, the heraldic left side. Contrary to the male portrait her figure is not cropped by the edge of the painting. She is shown seated and rests

The female portrait was conceived as a pendant to the portrait of her husband (AT_KHM_GG885_FR429). Therefore she occupies, as was typical at that time, the heraldic left side. Contrary to the male portrait her figure is not cropped by the edge of the painting. She is shown seated and rests her hands in her lap. On the right the contours of her figure are repeated in the form of a shadow on the blue-grey background. The green curtain on the left side is a later addition and covers the family coat-of-arms of the sitter.

Attribution
Lucas Cranach the Younger

Attribution

Lucas Cranach the Younger

Bottom right signed and dated
[Kunsthistorisches Museum, revised 2012]

Production date
1564

Production date

1564

[dated]

Dimensions
Dimensions of support: 83.5 x 63.7 (t.) 63.4 (b.) x 2.0 cm

Dimensions

  • Dimensions of support: 83.5 x 63.7 (t.) 63.4 (b.) x 2.0 cm

  • The format corresponds with the Standard D according to Heydenreich.

  • Dimensions of the painted surface: 83.5 x 63.7 (t.) 63.4 (b.) cm (coresponds with the dimensions of the panel)

  • Dimensions including frame: 106,5 cm x 89.5 cm x 5 cm

  • [Technical Examination, Kunsthistorisches Museum 2008]

Signature / Dating

Artist's insignia on the right edge of the panel: winged serpent with dropped wings, facing left and dated above '1564'; in yellow paint (see Fig. AT_KHM_GG886_FR430_2008-02-20_Detail_08)

Signature / Dating

  • Artist's insignia on the right edge of the panel: winged serpent with dropped wings, facing left and dated above '1564'; in yellow paint (see Fig. AT_KHM_GG886_FR430_2008-02-20_Detail_08)

  • [Kunsthistorisches Museum, revised 2012]

Inscriptions and Labels

Reverse of the panel: - top centre:
Paper label, printed: 'II. D. u. N. I. 66.'

  • beneath this:
    handwritten in …

Inscriptions and Labels

Stamps, Seals, Labels:

  • Reverse of the panel: - top centre:

  • Paper label, printed: 'II. D. u. N. I. 66.'

    • beneath this:
  • handwritten in white chalk: '2 P'

    • beneath this:
  • Paper label, printed: 'C. I. LUC. CRANACH d. ä. [correction in pencil: j.] Nro. 69.'

  • Red chalk (diagonal): '1470'

    • bottom right:
  • Paper label, handwritten in ink: '2.St: 1.Z: A.D.S. Nr: 68.'

  • Paper label, printed: 'Gemälde Galerie des Allerh. Kaiserhauses No. 886'

  • [Kunsthistorisches Museum, revised 2012]

Owner
Kunsthistorisches Museum, Vienna
Repository
Kunsthistorisches Museum, Vienna
Location
Vienna
CDA ID
AT_KHM_GG886
FR (1978) Nr.
FR430
Persistent Link
https://lucascranach.org/en/AT_KHM_GG886/

Provenance

  • from the Collection of Archduke Leopold Wilhelm, inventory 1659, NL 331:
    '330 vnndt 331. Zwey Contrafait-Brusstpildter von Öhlfarb auf Holcz eines Caualiers vnndt seiner Frawn, er in einem schwartzen Klaidt mitt einem schwartzen Käppel auff alte Manier, in der rechten Handt ein Messer mitt Silber beschlagen vnd in der linckhen ein Fatzonettel, die Fraw in einem rothen Rockh, weissen Fürtuech vnd Ermblen, vmb den Halsz zwey guldene Ketten vielmahl vmbgewickelt vnndt auff dem Kopf ein schwartz Barettel.
    In schwartz glatten Ramen, jedes 5 Span 2 Finger hoch vnd 4 Span 2 Finger braidt.
    Beede Originalia von Lucas Crainich. (330 and 331. Two half-length portraits oil-paint on wood a cavalier and his wife, he wears a black frock with a black cap in the old style, in his right hand he has a silvery knife and in his left hand a handkerchief, the woman wears a red dress, a white scarf and ?, around her neck she wears two golden chains, wrapped around numerous times and a black beret on her head.)'

[Source: 'Inventarium aller vnndt jeder Ihrer hochfürstlichen Durchleücht Herrn Herrn Leopoldt Wilhelmen [...] zue Wienn vorhandenen Mahllereyen [...]' ehem. Krumau, Fürstl. Schwarzenbergsches Centralarchiv.
published in: Berger 1883, LXXXVI-CLXXVII]

  • from 1816 recorded in the Picture Gallery in the Belvedere
    [Inventar 1816/17, 2. Stock, 1. Zimmer, Nr. 69 (written by Joseph Rosa jun., Manuscript in the archive of the Picture Gallery, KHM)]
    [Krafft, Cat. Vienna 1837, 209, no. 66]
    [Engert, Cat.Vienna 1858, 121 , no. 66]
    [Engerth, Cat. Vienna 1886, Bd. 3, no. 1493]

  • since 1892 in the Picture Gallery of the Kunsthistorischen Sammlungen, Burgring 5
    [Cat. Vienna 1892, 364, no. 1466] (Saal XXV)
    [Cat. Vienna 1896, 428, no. 1470] (Saal IX)
    [Cat. Vienna 1907, 340, no. 1470] (Saal IX)
    [Cat. Vienna 1928, 59, no. 1470]
    [Cat. Vienna 1938, 44, no. 1470]
    [Cat. Vienna 1963, 40, no. 119]
    [Cat. Vienna 1973, 51, Plate 131]
    [Cat. Vienna 1991, 47, Plate 599]

[Kunsthistorisches Museum, revised 2012]

Exhibitions

Graz 1953, no. 43
Vienna 1972, no. 29
Vienna 2010, no. 167
Vienna, Munich 2011/2012, no. 74

Literature

Reference on page Catalogue Number Figure / Plate
Exhib. Cat. Prague 2016 123
EditorOlga Kotková
TitleCranach. Ze všech stran. From all sides.
Place of PublicationPrague
Year of Publication2016
Pages16-180
Hoppe-Harnoncourt 2012 paragraph 5 Fig. 9
AuthorAlice Hoppe-Harnoncourt
TitleThe Restoration of Paintings at the Beginning of the Nineteenth Century in the Imperial Gallery
JournalCeROArt, Hors series La restauration des oeuvres d'art en Europe entre 1789 et 1815. Pratiques, transferts, enjeux
Year of Publication2012
Link http://ceroart.revues.org/2336
Exhib. Cat. Vienna 2011 136 No. 74
EditorChristof Metzger, Sabine Haag, Karl Schütz
TitleDürer, Cranach, Holbein. Die Entdeckung des Menschen das deutsche Porträt um 1500 [Kunsthistorisches Museum, Vienna, 31 May 2011 - 4 Sept. 2011, Kunsthalle der Hypo-Kulturstiftung Munich, 16 Sept.-15 Jan. 2012]
Place of PublicationMunich
Year of Publication2011
Exhib. Cat. Vienna 2010 106 No. 167
AuthorGudrun Swoboda
EditorSabine Haag
TitleStarke Köpfe. Porträts des Kunsthistorischen Museums, [Kunsthistorisches Museum, Vienna]
Place of PublicationVienna
Year of Publication2010
Cat. Vienna 1991 47 Plate 599
AuthorWolfgang von Prohaska, Sylvia Ferino-Pagden
EditorKarl Schütz
TitleDie Gemäldegalerie des Kunsthistorischen Museums in Wien. Verzeichnis der Gemälde
SeriesFührer durch das Kunsthistorische Museum
Volume40
Place of PublicationVienna
Year of Publication1991
Exhib. Cat. Brughe 1984 94, 95 Fig. 42
EditorPaul Huvenne
TitlePierre Pourbus, maître brugeois, 1524 - 1584, [Musée Memling, Hôpital Saint-Jean, Brughe]
Place of PublicationBrughe
Year of Publication1984
Friedländer, Rosenberg 1979 430 (and under No. 427)
AuthorMax J. Friedländer, Jakob Rosenberg
EditorG. Schwartz
TitleDie Gemälde von Lucas Cranach
Place of PublicationBasel, Boston, Stuttgart
Year of Publication1979
Exhib. Cat. Essen 1976 138 Fig. 158
EditorHeinz Althöfer
TitleFälschung und Forschung, [Museum Folkwang, Essen, October 1976 - January 1977; Skulpturengalerie Staatliche Museen Preußischer Kulturbesitz, Berlin, January - March 1977]
Place of PublicationEssen
Year of Publication1976
Schade 1974 103 Plate 239
AuthorWerner Schade
TitleDie Malerfamilie Cranach
Place of PublicationDresden
Year of Publication1974
Link http://digi.ub.uni-heidelberg.de/diglit/schade1974
Cat. Vienna 1973 51 Plate 131
EditorKlaus Demus
TitleVerzeichnis der Gemälde
SeriesFührer durch das Kunsthistorische Museum
Volume18
Place of PublicationVienna
Year of Publication1973
Exhib. Cat. Vienna 1972 34 No. 29 Fig. 28
AuthorKarl Schütz
EditorKunsthistorisches Museum, Wien
TitleLucas Cranach der Ältere und seine Werkstatt. Jubiläumsausstellung museumseigener Werke 1472-1972
Place of PublicationVienna
Year of Publication1972
Osten, Vey 1969 309
AuthorGert von der Osten, Horst Vey
TitlePainting and sculpture in Germany and the Netherlands 1500 to 1600
SeriesPelican History of Art
Volume31
Place of PublicationHarmondsworth, Middlesex
Year of Publication1969
Hutter 1968 36-37 Fig. 2
AuthorHeribert Hutter
TitlePicasso und Wien
JournalAlte und moderne Kunst
IssueH. 97
Year of Publication1968
Pages36-37
Cat. Vienna 1963 40 No. 119
Authorn. a.
TitleKatalog der Gemäldegalerie. 2, Vlamen, Holländer, Deutsche, Franzosen
SeriesFührer durch das Kunsthistorische Museum
Volume8/2
Place of PublicationVienna
Year of Publication1963
Exhib. Cat. Graz 1953 28 No. 43
EditorLandesmuseum Joanneum, Graz
TitleDürer und seine Zeit. Meisterwerke der deutschen Malerei des 16. Jahrhunderts. Sonderausstellung der Gemäldegalerie des Kunsthistorischen Museums, Wien im Steiermärkischen Landesmuseum Joanneum, Graz [Steiermärkischen Landesmuseum Joanneum, Graz]
Place of PublicationGraz
Year of Publication1953
Cat. Vienna 1938 44 No. 1470
Authorn. a.
TitleKunsthistorisches Museum: Katalog der Gemäldegalerie
SeriesFührer durch das Kunsthistorische Museum
Volume8
Place of PublicationVienna
IssueSecond edition
Year of Publication1938
Wolters 1938 127 Figs. 81, 82
AuthorChristian Wolters
TitleDie Bedeutung der Gemäldedurchleuchtung mit Röntgenstrahlen für die Kunstgeschichte. Dargestellt an Beispielen aus der niederländischen und deutschen Malerei des 15. und 16. Jahrhunderts
SeriesVeröffentlichungen zur Kunstgeschichte
Volume3
Place of PublicationFrankfurt am Main
Year of Publication1938
Friedländer, Rosenberg 1932 93 348 (and under No. 345)
AuthorMax J. Friedländer, Jakob Rosenberg
TitleDie Gemälde von Lucas Cranach
Place of PublicationBerlin
Year of Publication1932
Link http://digi.ub.uni-heidelberg.de/diglit/friedlaender1932
Cat. Vienna 1928 59 No. 1470
Authorn. a.
TitleKunsthistorisches Museum: Katalog der Gemäldegalerie
SeriesFührer durch die Kunsthistorischen Sammlungen in Wien
Volume8
Place of PublicationVienna
Year of Publication1928
Glaser 1923 Fn. p. 235
AuthorCurt Glaser
TitleLukas Cranach
Place of PublicationLeipzig
Year of Publication1923
Link http://digi.ub.uni-heidelberg.de/diglit/glaser1923
Cat. Vienna 1907 340 No. 1470
Authorn. a.
TitleKunsthistorische Sammlungen des allerhöchsten Kaiserhauses: Die Gemäldegalerie. Alte Meister
Place of PublicationVienna
Year of Publication1907
Cat. Vienna 1896 B 428 No. 1470
Authorn. a.
TitleKunsthistorische Sammlungen des allerhöchsten Kaiserhauses: Die Gemälde-Galerie. Alte Meister. Mit 120 Illustrationen
Place of PublicationVienna
Year of Publication1896
Cat. Vienna 1892 364 No. 1466
Authorn. a.
TitleKunsthistorische Sammlungen des allerhöchsten Kaiserhauses: Führer durch die Gemäldegalerie. I. Theil. Gemälde alter Meister
Volume1
Place of PublicationVienna
Year of Publication1892
Scheibler 1887 297
AuthorLudwig Scheibler
TitleÜber altdeutsche Gemälde in der kaiserlichen Galerie zu Wien
JournalRepertorium für Kunstwissenschaft
Issue10
Year of Publication1887
Link http://archiv.ub.uni-heidelberg.de/artdok/volltexte/2014/2652
Pages271-306
Cat. Vienna 1886 61 (Bd. 3) No. 1493
AuthorEduard von Engerth
TitleGemälde. Beschreibendes Verzeichnis. Kunsthistorische Sammlungen des Allerhöchsten Kaiserhauses
Volume1 - 3
Place of PublicationVienna
Year of Publication1886
Waagen 1866 171 (Bd. 1) Nos. 65, 66
AuthorGustav Friedrich Waagen
TitleDie vornehmsten Kunstdenkmäler in Wien. Erster Theil: Die k.k. Gemälde-Sammlungen im Schloss Belvedere und in der k.k. Kunst-Akademie, Die Privatsammlungen
Volume1
Place of PublicationVienna
Year of Publication1866
Link https://mdz-nbn-resolving.de/details:bsb10800311
Cat. Vienna 1858 121 No. 66
AuthorErasmus Engert
TitleCatalog der k.k. Gemäldegallerie im Belvedere zu Wien
Place of PublicationVienna
Year of Publication1858
Cat. Vienna 1837 209 No. 66
AuthorAlbrecht Krafft
EditorKunsthistorisches Museum, Wien
TitleVerzeichniss der kais. kön. Gemälde-Gallerie im Belvedere zu Wien
Place of PublicationVienna
Year of Publication1837

Research History / Discussion

On the basis of the date 1564 and the signature this painting has always been considered to be a typical work by the talented portrait artist Lucas Cranach the Younger, who emancipated himself in this genre after the death of his father (see among others [Lilienfein 1942, 102][Osten, Vey 1969, 309]

The curtain in the background is like that on the pendent portrait, a later addition: it covers a coat-of-arms, which is visible in the x-radiograph [Schutz 1972, No. 28]. Dr. Monika Lücke (Martin-Luther-Universität Halle-Wittenberg) discovered the same coat-of-arms on Balthasar Hoffmann’s epitaph (Leipzig, Stadtgeschichtliches Museum). Therefore this could be a portrait of one of the daughters of Balthasar Hoffmann from Leipzig (Hoppe-Harnoncourt, Exhib. Cat. Vienna, Munich 2011, No. 73]. It is however still open to debate which of his daughters is represented by the sitter.

[Alice Hoppe-Harnoncourt, Kunsthistorisches Museum 2012] [Translation, Smith, cda]

  • Female Portrait, 1564

Images

Compare images
  • overall
  • reverse
  • reverse
  • irr
  • x_radiograph
  • detail
  • detail
  • detail
  • photomicrograph
  • photomicrograph
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  • photomicrograph
  • photomicrograph
  • photomicrograph
  • photomicrograph
  • photomicrograph
  • photomicrograph

Technical studies

2012Technical examination / Scientific analysis

  • Light microscopy
  • Infrared reflectography
  • X-radiography
  • Stereomicroscopy
  • reverse
  • reverse
  • x_radiograph
  • irr
  • photomicrograph
  • photomicrograph
  • photomicrograph
  • detail

Support

- limewood (Tilia sp.)

[wood species identified by Dr. Peter Klein, report from 06.04.2008]

- the support consists of 6 boards of varying widths with the grain running vertically, with glued butt-joints; the widths of the boards are from left to right (seen from the recto): Board I 7.5 (t.) 6.2 (b.) board II 15.7 (t.) 16.2 (b.) board III 10.6 (t.) 10.4 (b.) board IV 9.9 (t.) 10.7 (b.) board V 12.2 (t.) 11.8 (b.) board VI 7.8 (t.) 8.1 (b.) cm.

The reverse of the panel is original and from it we can deduce the construction of the panel, which occurred in two stages: first boards I and II as well as boards III to VI were glued together and prepared separately. This is evident when interpreting the concise block plane marks that run vertically on the left side of the panel and diagonally on the right side (see Fig. AT_KHM_GG886_FR430_2008-02-20_Overall_Reverse_Raking-Light). Only then were the two halves joined together to make the panel. One possible explanation for this method of construction could be that the planks were glued together and kept in reserve to use accordingly for the relevant panel. The join between the two parts of the panel was reinforced near the bottom edge with two counter hand-forged nails. The panel is 1.9-2.0 cm thick. The reverse of the panel exhibits a rebate, uneven in width (0.9 to 1.5 cm), on all sides, with the exception of the trimmed bottom edge. Where the rebate is present the panel is c. 0.7 cm thick. It has an anthracite coloured coating.

- a strip the width of the rebate was probably trimmed off the bottom edge

Ground and Imprimatura

- white ground

- an analysis was not carried out, probably glue bound calcium carbonate

- the ground appplication extends to the edge of the panel, neither a barbe nor unpainted edges are present

- different degrees of x-ray absorption indicates that the separately prepared panel pieces (see support) may also differ in terms of the number and/or composition of the ground layers. (see Fig. AT_KHM_GG886_FR430_2008-03-19_X-radiograph).

Underdrawing

The infrared reflectogram shows an underdrawing that was executed in a dry medium with freehand, short, jagged lines, at times repeated (nose). The broken course of the some lines suggests the use of a dry drawing material. The hands and details of the face were essentially characterised with contours and a sparse indication of inner form, shadow are suggested by hatching-strokes only on the joints of the finger and the cheek-bones. The underdrawing was to a greater extent closely adhered to in the painted version, the left ear was shifted further down.

Paint Layers and Gilding

The painted surface extends to the edge of the panel on the sides; along the top edge there is a painted edge c. 0.8 cm in width, the panel may have been fixed in a mortise frame during the painting process. The lower edge is trimmed making any assertion impossible.

As with the male pendant the flesh paint and other light areas like the sleeve and the apron were laid in first, before the red and black areas were applied. Finally the background was painted and at the same time the contour of the figure was defined. The numerous decorative elements like the necklace, the hairnet, the lace collar, decoration of the beret etc. were applied last and overlap the background in many places.

The manner of painting generally corresponds with that of the male pendant (AT_KHM_GG885_FR429), the coloring of the flesh paint is however somewhat cooler and the shadows are painted in brown or grey tones rather than red.

The x-radiograph shows, that light areas like the flesh paint or the apron were initially laid in more generously and only received their final shape in a more advanced stage of the painting process when adjacent areas were painted. The blocked in areas of the sleeve and the background meet without overlapping. A narrow strip of barely covered ground on the inner side of her right upper arm was incorporated into the representation as a reflection.

In can be observed that the areas of the lace and embroidery on the sleeve of her blouse vary in consistency and the method of application; in part the paint was applied wet-in-wet, sometimes the wet paint was blended with a dry brush, finally the details of the pattern were applied with impasto yellow paint. There is no gilding, light reflexes on the rings and chains were achieved with impasto highlights (presumably lead-tin-yellow).

Framing

- not original

[Translation, Smith, cda 2013]

  • written by Monika Strolz
  • written by Ute Tüchler

06.04.2008Scientific analysis

  • Identification of wood species / Dendrochronology

Support

Identification of wood species: Dr. Peter Klein, report from 06.04.2008

[Kunsthistorisches Museum, revised 2012]

[Translation, Smith, cda 2013]

  • analysed by Peter Klein

19.03.2008Technical examination / Scientific analysis

  • X-radiograph
  • x_radiograph
  • created by Kunsthistorisches Museum, Wien

19.03.2008Technical examination / Scientific analysis

  • Infrared reflectograph
  • irr

DESCRIPTION

Tools/Material:

- dry drawing material, black chalk or stylus

Type/Ductus:

- freehand underdrawing

- delicate, fine lines; short and jagged, partially reinforced

- occasioinal hatching-strokes

Functiion:

- relatively binding for the final painted version; the lines define the main contours, sparse description of essential details and facial features; volume represented by hatching-strokes: hands and left cheek only

Deviations:

- minor adjustments were made during the painting process to forms, small changes (e. g. the position of the left ear)

INTERPRETATION

Attribution:

- Lucas Cranach the Younger

[Sandner, Smith-Contini, Heydenreich, cda 2016]

  • photographed by Kunsthistorisches Museum, Wien

Condition Reports

Date2012

Support:

  • the panel exhibits old woodworm damage, which is more concentrated in three of the six planks (II, V and VI). The support must have been affected by woodworm before the planks were used as numerous exit holes on the painted side have been filled with a fill material -probably containing lead white (see Fig. AT_KHM_GG886_FR430_2008-03-19_X-radiograph).

  • there is a dent of c. 10 cm in length and 1.4 cm in depth between planks IV and V. Here the remaining wood is only 0.5-0.6 cm thick.

  • The panel was trimmed along the bottom, and as a result wood fibres have broken off along the cut edge.

Paint Layers:

  • a curtain was also added later, mirror-invert to that on the male pendant. The coat-of-arms painted beneath in the upper left corner is clearly visible in the x-radiograph (see Beschreibung/Diskussion/Forschungsgeschichte ). It is not documented when this intervention occurred.

The coat-of-arms was overpainted in a frame, as the paint layer does not extend to the edge of the panel, but creates a barb c. 1 cm from the left edge (see Fig. AT_KHM_GG886_FR430_2008-03-02_Photomicrograph-M6x-018). The paint layer of the curtain exhibits a strong x-ray absorption and presumably contains lead white or lead-tin-yellow.

  • the paint layers exhibit only a few, mostly very small losses; further isolated losses are located along the edges, particularly along the bottom edge.

[Monika Strolz, Ute Tüchler, Kunsthistorisches Museum, revised 2012]

[Translation, Smith, cda 2013]

Conservation History

Date1929

Restaurierbuch 1, 1929/Nr. 54:

numerous large and small blisters in the lower quarter of the painting were consolidated

[Kunsthistorisches Museum, revised 2012]

[Translation, Smith, cda 2013]

Date1924

Restaurierbuch 1, 1924/Nr. 373:

varnish removal

[Kunsthistorisches Museum, revised 2012]

[Translation, Smith, cda 2013]

Citing from the Cranach Digital Archive

Entry with author
<author's name>, 'Female Portrait', <title of document, data entry or image>. [<Date of document or image>], in: Cranach Digital Archive, https://lucascranach.org/en/AT_KHM_GG886/ (Accessed {{dateAccessed}})
Entry with no author
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