Cranach - A finely dressed young Lady
A finely dressed young Lady
Lucas Cranach the Elder (and workshop)
Germanisches Nationalmuseum, Nuremberg
13.06.2021 - 12:51
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CDA ID / Inventory NumberDE_BStGS-GNMN_Gm217
Persistent Link
FR (1978) No.FR303
A finely dressed young Lady[Löcher, Cat. Nuremberg 1997, 144]
Portrait of a Young Woman[Friedländer, Rosenberg 1932, No. 242][1] [1][Löcher, Cat. Nuremberg 1997, 145]
Salome[Firmenich-Richartz 1916, 336, 485, No. 206][1] [1][Löcher, Cat. Nuremberg 1997, 145]
Judith[Schorn 1829, 419][1] [1][Löcher, Cat. Nuremberg 1997, 145]
Herodias[Chezy 1812, 120-121][1] [1][Löcher, Cat. Nuremberg 1997, 145]
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Lucas Cranach the Elder (and workshop)[Löcher, Cat. Nuremberg 1997, 145]
Lucas Cranach the Elder [Löcher, Cat. Nuremberg 1997, 145] [Friedländer, Rosenberg 1979, No. 303 with Fig.]
Workshop Lucas Cranach the Elder [Lutze, Wiegand, Cat. Nuremberg 1936, 42, Fig. 380][1] [1][Löcher, Cat. Nuremberg 1997, 145]
Lucas Cranach the Younger [Goldberg 1995, No. 209 with Fig.][1] [Parthey 1863, 703, No. 116][1] [Cat. Nuremberg 1846][1] [1][Löcher, Cat. Nuremberg 1997, 145]
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about 1530[Löcher, Cat. Nuremberg 1997, 144]
Owner / Repository / Location:
OwnerWittelsbacher Ausgleichsfond/Bayerische Staatsgemäldesammlungen
RepositoryGermanisches Nationalmuseum, Nuremberg
Dimensions of support: 58.6 x 59.8 cm [Löcher, Cat. Nuremberg 1997, 144]
Painting on lime wood (Tilia sp.) [Klein, Report 2013] [Löcher, Cat. Nuremberg 1997, 144]
Signature / Date:
Inscriptions, Marks, Labels, Seals:
Reverse of the frame: - old label on gold coloured cardboard, nailed [Löcher, Cat. Nuremberg 1997, 144]
A half-length portrait facing left, but looking at the viewer. The hair bonnet and bodice are decorated with a diamond-shaped pattern and embroidered with pearls, the dress is decorated with brocade trimmings. She wears a red velvet beret with a white feather, a neckband with precious stones, and two chains. In addition to a dark wall the background shows a view of a mountainous landscape. Originally this painting depicted Salome with the head of St John the Baptist in a bowl. The lower part of the painting disappeared when the panel was cropped. [Löcher, Cat. Nuremberg 1997, 144]
Loan from the Wittelsbacher Ausgleichsfonds
Bayerische Staatsgemäldesammlung (BStGS), Inv. No. WAF 182

- 1811 acquired for the Boisseree Collection from Holzhausen in Frankfurt a. M., Inventory from 1827, No. 206
- 1811-1819 displayed in Heidelberg
- 1819-1827 displayed in Stuttgart
- 1827 acquired for the collection of King Ludwig I. of Bavaria, I.B. 209
- from 1829 displayed in Nuremberg, Moritz chapel
- 1882 GNM

[Löcher, Cat. Nuremberg 1997, 144]
Sources / Publications:
Reference on PageCatalogue NumberFigure/Plate
Exhib. Cat. Weimar 2015143
Exhib. Cat. Nuremberg 200447-49
Löcher 2000108
Cat. Nuremberg 1997144-145
Goldberg 1995113-125, 228-328No. 209
Schade, Schuttwolf 199452
Löcher 1985 A56
Friedländer, Rosenberg 1979129No. 303Fig. 303
Boisseree 1978-1995192, 389
Bussmann 196695Fig. 58
Cat. Nuremberg 1936/193742Fig. 380
Friedländer, Rosenberg 193273242
Reinach 1905-1923258
Firmenich-Richartz 1916336, 485No. 206
Chezy 1812120-121
Cat. Nuremberg 1909No. 217
Cat. Nuremberg 1893No. 263
Cat. Nuremberg 1885No. 231
Cat. Nuremberg 1882No. 226
Cat. Nuremberg 1878-1880No. 135
Parthey 1863-1864703 (Bd. 1)No. 116
Lotz 1863339No. 113
Heller 185488
Schuchardt 1851 C105380
Waagen 1843193
Schorn 1829419
Hellwig 1813288
Interpretation / History / Discussion:
The fragment from a representation of Salome preserved in Nuremberg (FR303), which may be a copy of the painting in Budapest [HU_SMB_132,] is evidently part of a panel that was divided in a similar fashion. [Exhib. Cat. Gotha 1994, 52]
Material / Technique:
  • Date: 08.04.2013
  • Scientific analysis
  • Identification of wood species / Dendrochronology
  • Support
  • Identification of wood species: lime wood (Tilia sp.)
    • analysed by: Peter Klein
    • Date: 09. 2010
    • Technical examination / Scientific analysis
    • Infrared reflectography
    • Lucas Cranach the Elder (and workshop) - Germanisches Nationalmuseum, Nuremberg - A finely dressed young Lady - Infrared Images
    • Underdrawing

      -fluid black pigmented medium, pointed brush; dry medium (dark chalk ?)

      - detailed and freehand underdrawing
      - thin lines (fluid medium) combined with broader lines; occasional delicate, fine lines (dry medium)

      - relatively binding for the final painted version; delicate lines describe the essential facial features and are reinforce with thin lines, these also sketchily indicate the details in the landscape; broader lines are employed in the drapery and the headdress; some representation of volume in the face ?

      - only minor alterations made during the painting process to clearly define form; changes can been seen in the woman’s bodice


      - Lucas Cranach the Younger ?

      - possibly with reference to a pre-existing sketch or transferred from a pre-existing design (facial features)

      [Smith, Sandner, Heydenreich, cda 2012]
      • photographed by: Gunnar Heydenreich
      • photographed by: Ingo Sandner
      • Date: 1997
      • Technical examination / Scientific analysis
      • Identification of wood species / Dendrochronology
      • Infrared reflectography
      • Stereomicroscopy
      • Lucas Cranach the Elder (and workshop) - Germanisches Nationalmuseum, Nuremberg - A finely dressed young Lady - Detail ImagesLucas Cranach the Elder (and workshop) - Germanisches Nationalmuseum, Nuremberg - A finely dressed young Lady - Detail Images
      • Support
      • - lime wood (Tilia sp.)
        - 4 planks, widths from the left: top: 14.9, 13.5, 18.3, 13.1, bottom: 13.9, 14.3, 17.7, 13.8 cm
        - thickness: 1.1-1.4 cm
        - the knots were left in the wood
        - the panel was cropped considerably at the bottom

        - there is a rebate along the side and top edges of the panel
        - the central join was originally reinforced with a dovetail insert, here there are also remains of old canvas
      • Ground and Imprimatura
      • - the ground and paint was applied to the panel in the frame
      • Underdrawing
      • - executed with a brush
        - the contours and lines within the forms are indicated: there are floral ornaments above the diamond pattern in the area of the breast bib, which correspond with the prototype in Budapest
      • Paint Layers and Gilding
      • - ornamental lines have been cursory scratched (Sgraffitto) into the wet paint of the lace on the shoulder
        - areas of the chain were arbitrarily underpainted with a reddish brown, the shape of the individual links was then worked up in light and shade, the areas between were subsequently made lighter
        [Bartl, Cat. Nuremberg 1997, 144]
          Condition Reports:
          • Date: 1997
          • Support: - minimal amount of old wood worm damage - the panel had a corrugated appearance until 1977, after which ime it was returned to plane - the joins were reglued (1983) - today it exhibits an extreme convex warp - the panel has been cropped considerably along the bottom edge Reverse: - the central join was originally reinforced with a dovetail insert - the remaining joins were reinforced with wooden blocks - splits near the cenral join have been reinforced with disks of oak wood - two large wooden blocks have been removed at the top left Painted surface: - the outer contours of the chain are abraded - the painting has been overcleaned in some of the lighter areas - the eyebrows have been reconstructed - there are small losses and reconstructed areas across the entire painting - the paint from the window frame has partially been removed [Bartl, Cat. Nuremberg 1997, 144]
            History of Restoration:
            • Date: 1983
            • - the joins were reglued and the panel was put in a climatically contolled chamber [Bartl, Cat. Nuremberg 1997, 144]
              • Date: 1977
              • - the panel was returned to plane [Bartl, Cat. Nuremberg 1997, 144]