Portrait of Anna Cuspinian

Portrait of Anna Cuspinian

Titles

Portrait of Anna Cuspinian

-

The Wedding Portrait of Dr. Johannes Cuspinian and
Anna Cuspinian-Putsch

[Koepplin, Cat. Winterthur 2003]

Painting on spruce (Picea sp.)

Half-length Portrait of the wife of the historiographer Dr. Johannes Cuspinian (actually called Spiessheimer)

Part of a diptych (Pendant piece to the portrait of Johannes Cuspian)

Attribution
Lucas Cranach the Elder

Attribution

Lucas Cranach the Elder

[Koepplin 1973]
[Friedländer, Rosenberg 1979, 66, no. 7]

Production dates
1502
1502-1503

Production dates

1502

[Koepplin 2003, 127]

1502-1503

[Friedländer, Rosenberg 1978, 66, no. 7] [Exhib. Cat. Kronach 1994, 298]

Dimensions
Dimensions of support: 60.2-60.1 x 45.5-45 x 0.45-0.55 cm (almost original size)

Dimensions

  • Dimensions of support: 60.2-60.1 x 45.5-45 x 0.45-0.55 cm (almost original size)

Signature / Dating
None
Inscriptions and Labels
- on the top right: two paper labels: the first is printed 'Dr. Oskar Reinhart, Winterthur Nr. Cranach, Lucas d. Ae. …

Inscriptions and Labels

Stamps, Seals, Labels:

  • - on the top right: two paper labels: the first is printed 'Dr. Oskar Reinhart, Winterthur Nr. Cranach, Lucas d. Ae. Bildnis der Frau Joh. Cuspinians 45 x 59', with the SIK number, Zurich. The writing on the second label is difficult to read, but appears to be a number, which ends with the figures 32.
  • The reverse of the panel is branded with the insignia 'CR' (Carlus Rex) on the bottom right, above which there is a crown (it is identical to the markings on the reverse of the Portrait of Johannes Cuspinian)
Owner
Sammlung Oskar Reinhart, Winterthur
Repository
Sammlung Oskar Reinhart, Winterthur
Location
Winterthur
CDA ID
CH_SORW_1925-1a
FR (1978) Nr.
FR007
Persistent Link
https://lucascranach.org/en/CH_SORW_1925-1a/

Provenance

  • King Charles I of England
  • Locker-Lampson Family, England
  • Baron of Sandys, England
  • art market A. -G., Luzern, Julius Böhler gall.
  • acquired by Reinhart in 1925

Exhibitions

Bern 1939-1940, no. 62-63, plate III
Zurich 1940-1941, no. 39-40, plates XI-XII
Winterthur 1955, no. 42-43, plate V.

Literature

Reference on page Catalogue Number Figure/Plate
Cat. Coburg 2018 192, fn. 5 under no. 42
AuthorKlaus Weschenfelder
TitleCranach in Coburg. Gemälde von Lucas Cranach d.Ä., Lucas Cranach d.J., der Werkstatt und des Umkreises in den Kunstsammlungen der Veste Coburg
Place of PublicationRegensburg
Year of Publication2018
Price 2017 16
AuthorDavid H. Price
TitleLucas Cranach e la Riforma
Publicationin Francesca de Luca, Giovanni Maria Fara, eds., I volti della Riforma. Lutero e Cranach nelle collezioni medicee , Exhib. Cat. Florence, 2017
Place of PublicationFlorence, Milan
Year of Publication2017
Pages12-27
Bonnet, Görres 2015 17-19 3 p. 19
AuthorAnne-Marie Bonnet, Daniel Görres
TitleLucas Cranach d. Ä. - Maler der Deutschen Renaissance
Place of PublicationMunich
Year of Publication2015
Exhib. Cat. Gotha, Kassel 2015 226
EditorJulia Carrasco, Justus Lange, Benjamin D. Spira, Timo Trümper, Stiftung Schloss Friedenstein, Gotha
TitleBild und Botschaft. Cranach im Dienst von Hof und Reformation, [Gotha, Herzogliches Museum; Kassel, Gemäldegalerie Alte Meister, Schloss Wilhelmshöhe]
Place of PublicationHeidelberg
Year of Publication2015
Exhib. Cat. Weimar 2015 10
EditorWolfgang Holler, Karin Kolb
TitleCranach in Weimar, [Weimar, Schiller-Museum, 3 April - 14 June 2015]
Place of PublicationDresden
Year of Publication2015
Exhib. Cat. Vienna 2011 113 Fig. 1b
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
Bonnet, Kopp-Schmidt, Görres 2010 133-135 3
AuthorAnne-Marie Bonnet, Gabriele Kopp-Schmidt, Daniel Görres
TitleDie Malerei der deutschen Renaissance
Place of PublicationMunich
Year of Publication2010
Borchert 2010 27
AuthorTill-Holger Borchert
TitleCranach der Ältere in den Niederlanden
Publicationin Guido Messling, ed., Die Welt des Lucas Cranach. Ein Künstler im Zeitalter von Dürer, Tizian und Metsys, Exhib. Cat. Brussels
Place of PublicationBrussels
Year of Publication2010
Pages26-29
Borggrefe 2010 69, 70 Fig. 3, p. 69
AuthorHeiner Borggrefe
TitleLucas Cranach vs. Tiziano. Il ritratto nell'ambito della politica europea; Lucas Cranach vs. Titian. Portraiture and European Politics
Publicationin Anna Coliva, Bernhard Aikema, eds., Cranach l'altro rinascimento, a different Renaissance, Exhib. Cat. Rome
Place of PublicationMilan
Year of Publication2010
Pages62 - 73
Martin 2010 50
AuthorAndrew John Martin
TitleLucas Cranach et l'arte delle corti del Nord; Lucas Cranach and the Art of the Northern Courts
Publicationin Anna Coliva, Bernhard Aikema, eds., Cranach l¿altro rinascimento, a different Renaissance, Exhib. Cat. Rome
Place of PublicationMilan
Year of Publication2010
Pages48 - 61
Brinkmann 2007 18
AuthorBodo Brinkmann
TitleDas Lächeln der Madonna. Lucas Cranach und die Folgen
Publicationin Bodo Brinkmann, ed., Cranach der Ältere, Exhib. Cat. Frankfurt
Place of PublicationOstfildern
Year of Publication2007
Pages17-27
Evans 2007 50, 51 2
AuthorMark Evans
Title"Die Italiener, sonst so ruhmsüchtig, bieten Dir die Hand": Lucas Cranach und die Kunst des Humanismus
Publicationin Bodo Brinkmann, ed., Cranach der Ältere, Exhib. Cat. Frankfurt
Place of PublicationOstfildern
Year of Publication2007
Pages49-61
Heydenreich 2007 A 39, 47, 52, 55, 56, 86, 87, 97, 102, 115, 140, 149, 178, 185, 193, 196, 200, 221, 227, 309
AuthorGunnar Heydenreich
TitleLucas Cranach the Elder
Place of PublicationAmsterdam
Year of Publication2007
Link https://lucascranach.org/application/files/6116/2097/3099/Heydenreich_2007_Lucas_Cranach_the_Elder.pdf
Heydenreich 2007 B 42, 43 28, 29
AuthorGunnar Heydenreich
Title"... dass Du mit wunderbarer Schnelligkeit malest". Virtuosität und Effizienz in der künstlerischen Praxis Lucas Cranachs d. Ä.
Publicationin Bodo Brinkmann, ed., Cranach der Ältere, Exhib. Cat. FrankfurtA
Place of PublicationOstfildern
Year of Publication2007
Pages29-47
Chamonikola 2005 B 23 (English version 10)
AuthorKaliopi Chamonikola
TitleLucas Cranach a ceské zeme/ Lucas Cranach and the Czech Lands
Publicationin Kaliopi Chamonikola, ed., Pod znamením okrídleného hada. Lucas Cranach a ceské zeme, Under the winged Serpent, Lucas Cranach and the Czech Lands, Exhib. Prague 2005
Place of PublicationPrague
Year of Publication2005
Pages13-33 (6-15)
Kotkova 2005 A 10 (English version 4)
AuthorOlga Kotková
TitleLucas Cranach. Vývesní stít staronemecké malby/ Lucas Cranach. The signboard of Old German Painting
Publicationin Kaliopi Chamonikola, ed., Pod znamením okrídleného hada. Lucas Cranach a ceské zeme, Under the winged Serpent, Lucas Cranach and the Czech Lands, Exhib. Prague 2005
Place of PublicationPrague
Year of Publication2005
Pages8-12 (4-5)
Marx 2005 107, 108 Fig. 31
AuthorHarald Marx
TitleDresden als Cranach-Palast und der 'moderne' Cranach
Publicationin Harald Marx, Ingrid Mössinger, Karin Kolb, ed., Cranach. Exhib. Cat. Chemnitz
Place of PublicationCologne
Year of Publication2005
Pages88-111
Cat. Winterthur 2003 127-133
AuthorDieter Koepplin
EditorMariantonia Reinhard-Felice
TitleSammlung Oskar Reinhart 'Am Römerholz' Winterthur, Gesamtkatalog
Place of PublicationBasel
Year of Publication2003
Exhib. Cat. Hamburg 2003 166
EditorBucerius Kunst Forum, Werner Schade
TitleLucas Cranach. Glaube, Mythologie und Moderne [Bucerius Kunst Forum, Hamburg]
Place of PublicationOstfildern-Ruit
Year of Publication2003
Robert 2003 107
AuthorJörg Robert
TitleDie Wahrheit hinter dem Schleier. Lucas Cranachs heidnische Götter und die humanistische Mythenallegorese.
Publicationin Heiz Spielmann, Werner Schade, eds., Lucas Cranach Glaube Mythologie und Maderne , Exhib. Cat. Hamburg 2003
Place of PublicationOstfildern-Ruit
Year of Publication2003
Pages102-115
Schade 2003 14
AuthorWerner Schade
TitleBildhaftigkeit bei Cranach
Publicationin Heiz Spielmann, Werner Schade, eds., Lucas Cranach Glaube Mythologie und Maderne , Exhib. Cat. Hamburg 2003
Place of PublicationOstfildern-Ruit
Year of Publication2003
Pages12-21
Heiser 2002
AuthorSabine Heiser
TitleDas Frühwerk Lucas Cranachs des Älteren. Wien um 1500 - Dresden um 1900
SeriesNeue Forschungen zur Deutschen Kunst
Volume6
Place of PublicationBerlin
Year of Publication2002
Warnke 1999 157, 382
AuthorMartin Warnke
TitleSpätmittelalter und Frühe Neuzeit 1400-1750
SeriesGeschichte der deutschen Kunst
Volume2
Place of PublicationMunich
Year of Publication1999
Exhib. Cat. Eisenach 1998 122-123 No. 14.4 Fig. 14.4
EditorWartburg-Stiftung, Eisenach, Fachhochschule , Ingo Sandner
TitleUnsichtbare Meisterzeichnungen auf dem Malgrund. Cranach und seine Zeitgenossen. Ausstellungskatalog und Tagungsband Katalogteil 1; 2: Werkstatt und Schüler Cranachs; 3: Süddeutsche Meister; 4: Albrecht Dürer und sein Kreis; 5: Rheinische Meister
Place of PublicationRegensburg
Year of Publication1998
Pages229-240
Heydenreich 1998 A 182, 197 Fig. 21.1
AuthorGunnar Heydenreich
TitleHerstellung, Grundierung und Rahmung der Holzbildträger in den Werkstätten Lucas Cranachs d.Ä.
Publicationin Ingo Sandner, Wartburg-Stiftung Eisenach and Fachhochschule Köln, eds., Unsichtbare Meisterzeichnungen auf dem Malgrund. Cranach und seine Zeitgenossen, Exhib. Cat. Eisenach
Place of PublicationRegensburg
Year of Publication1998
Pages181-200
Sandner 1998 B 83
AuthorIngo Sandner
TitleCranach als Zeichner auf dem Malgrund
Publicationin Ingo Sandner, Wartburg-Stiftung Eisenach and Fachhochschule Köln, eds., Unsichtbare Meisterzeichnungen auf dem Malgrund. Cranach und seine Zeitgenossen, Exhib. Cat. Eisenach
Place of PublicationRegensburg
Year of Publication1998
Pages83-95
Cat. Nuremberg 1997 124
AuthorKurt Löcher
TitleDie Gemälde des 16. Jahrhunderts. Germanisches Nationalmuseum Nürnberg
Place of PublicationOstfildern-Ruit
Year of Publication1997
Heydenreich 1997 9
AuthorGunnar Heydenreich
TitleDas Bildnis einer jungen Dame. Eine Vorlage für die Darstellung der hl. Margarete auf dem Dresdner Katharinenaltar (1506) von Lucas Cranach d. Ä.?
JournalMonatsanzeiger des Germanischen Nationalmuseums Nürnberg
Issue195/6
Year of Publication1997
Pages7-10
Marx 1997 18
AuthorHarald Marx
TitleCranach und Dürer. Zur Bildnisfrage bei Cranachs Katharinenaltar von 1506
JournalDresdener Kunstblätter
Issue41
Year of Publication1997
Pages11-24
Exhib. Cat. Kronach 1994 298 118
EditorClaus Grimm, Johannes Erichsen, Evamaria Brockhoff
TitleLucas Cranach. Ein Maler-Unternehmer aus Franken [Festung Rosenberg, Kronach 17.05 - 21.08.1994; Museum der Bildenden Künste, Leipzig 07.09 - 06.11.1994]
SeriesVeröffentlichungen zur bayerischen Geschichte und Kultur
Volume26
Place of PublicationAugsburg, Coburg
Year of Publication1994
Rebel 1994 131, 133 Fig. A73
AuthorErnst Rebel
TitleLucas Cranach Porträtkunst. Personendarstellungen zwischen Vitalität und Formel
Publicationin Claus Grimm, Johannes Erichsen, Evamaria Brockhoff, eds.,Lucas Cranach. Ein Maler-Unternehmer aus Franken, Exhib. Cat. Kronach 1994
SeriesVeröffentlichungen zur bayerischen Geschichte und Kultur
Volume26
Place of PublicationCoburg, Augsburg
Year of Publication1994
Pages131-138
Frehner 1993 18-20
AuthorChristina Frehner, Matthias Frehner
EditorSchweizerisches Institut für Kunstwissenschaft SIK
TitleSammlung Oskar Reinhart «Am Römerholz», Winterthur
Place of PublicationZurich
Year of Publication1993
Hinz 1993 9-11
AuthorBerthold Hinz
TitleLucas Cranach d. Ä.
Place of PublicationReinbek near Hamburg
Year of Publication1993
Wood 1993 47, 73ff.
AuthorChristopher S. Wood
TitleAlbrecht Altdorfer and the Origins of Landscape
Place of PublicationLondon
Year of Publication1993
Schneider 1992 82-87
AuthorNorbert Schneider
TitlePorträtmalerei. Hauptwerke europäischer Bildniskunst 1420-1670
Place of PublicationCologne
Year of Publication1992
Silver 1983
AuthorLarry A. Silver
TitleForest Primeval. Albrecht Altdorfer and the German Wilderness Landscape
JournalSimiolus
Issue13
Year of Publication1983
Pages5-43
Friedländer, Rosenberg 1979 67 No. 7 Fig. 7
AuthorMax J. Friedländer, Jakob Rosenberg
EditorG. Schwartz
TitleDie Gemälde von Lucas Cranach
Place of PublicationBasel, Boston, Stuttgart
Year of Publication1979
Silver, Koepplin 1976
AuthorLarry A. Silver, Dieter Koepplin
TitleCranachs Ehebildnis des Johannes Cuspinian von 1502
JournalThe Art Bulletin
Issue58
Year of Publication1976
Pages290-292
Cat. Winterthur 1975 37, 329, 330
AuthorMichael Stättler, Eduard Hüttinger
EditorRudolf Koella
TitleDie Sammlung Oskar Reinhart am Römerholz in Winterthur. Bilder, Zeichnungen, Plastiken
Place of PublicationZurich
Year of Publication1975
Exhib. Cat. Basel 1974/1976 121, 130, 142, 160-168
AuthorDieter Koepplin, Tilman Falk
TitleLukas Cranach. Gemälde, Zeichnungen und Druckgraphik
Volume1, 2
Place of PublicationBasel, Stuttgart
Year of Publication1974
Link http://nbn-resolving.de/urn:nbn:de:bsz:16-diglit-104522
Schade 1974 15, 17-18
AuthorWerner Schade
TitleDie Malerfamilie Cranach
Place of PublicationDresden
Year of Publication1974
Link http://digi.ub.uni-heidelberg.de/diglit/schade1974
Koepplin 1973 A
AuthorDieter Koepplin
TitleCranachs Ehebildnis des Johannes Cuspinian von 1502. Seine christlich-humanistische Bedeutung
Place of PublicationDüsseldorf
Year of Publication1973
Link http://digi.ub.uni-heidelberg.de/diglit/koepplin1973
Koepplin 1973 B 70-71
AuthorDieter Koepplin
TitleHumanistische Tendenzen in Cranachs Frühwerk
Publicationin Referate des Coloquiums, Staatliche Lutherhalle Wittenberg
Place of PublicationWittenberg
Year of Publication1973
Pages68-71
Rosenberg 1969 33f.
AuthorJakob Rosenberg
TitleLucas Cranach the Elder. A Critical Appreciation
JournalRecord of the Art Museum, Princeton University
Issue28, 1
Year of Publication1969
Pages27-53
Benesch 1966 64-67
AuthorOtto Benesch
TitleDie deutsche Malerei. Von Dürer bis Holbein
Place of PublicationGenf
Year of Publication1966
Grote 1965 166
AuthorLudwig Grote
TitleDürer Studien
JournalZeitschrift des deutschen Vereins für Kunstwissenschaft
Issue19
Year of Publication1965
Pages151-169
Stange 1964 58
AuthorAlfred Stange
TitleMalerei der Donauschule
Place of PublicationMunich
Year of Publication1964
Ruhmer 1963 86
AuthorEberhard Ruhmer
TitleCranach
Place of PublicationCologne
Year of Publication1963
Ankwicz Kleehoven 1959 30-34
AuthorHans Ankwicz Kleehoven
TitleDer Wiener Humanist Johannes Cuspinian, Gelehrter und Diplomat zur Zeit Kaiser Maximilians I
Place of PublicationGraz, Cologne
Year of Publication1959
Buchner 1953 165-167 Nos. 189, 190
AuthorErnst Buchner
TitleDas deutsche Bildnis der Spätgotik und der frühen Dürerzeit
Place of PublicationBerlin
Year of Publication1953
Lüdecke 1953 B 28-30, 83
AuthorHeinz Lüdecke
TitleLucas Cranach der Ältere. Der Künstler und seine Zeit
Place of PublicationBerlin
Year of Publication1953
Cat. Winterthur 1939/1940 18-20
AuthorChristina Frehner, Matthias Frehner
TitleSammlung Oskar Reinhart 'Am Römerholz' Winterthur
Place of PublicationBern
Year of Publication1940
Pinder 1939/1940
AuthorWilhelm Pinder
TitleDie Romantik in der deutschen Kunst um 1500
Publicationin Das Werk des Künstlers
Volume1
Place of Publication[n. a.]
Year of Publication1940
Pages3-41
Friedländer, Rosenberg 1932 6, 7
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
Ankwicz Kleehoven 1927
AuthorHans Ankwicz Kleehoven
TitleCranachs Bildnisse des Dr. Cuspinian (gest. 1529) und seiner Frau (Anna geb. Putsch, gest. 1513)
JournalJahrbuch der Preußischen Kunstsammlungen
Issue48
Year of Publication1927
Pages230-234
Friedländer 1926
AuthorMax J. Friedländer
TitleZwei Bildnisse von L. Cranach
JournalKunst und Künstler
Issue24
Year of Publication1926
Link http://digi.ub.uni-heidelberg.de/diglit/kk1926/0407
Pages380-383

Description/ Interpretation/ Comments

This panel and its pendant piece (Johannes Cuspinian) can be considered together as a single work, which was probably commissioned as a wedding portrait. The sitter is Anna Cuspinian (formerly Putsch) the daughter of the royal treasurer Ulrich Putsch. The continuous landscape into which the sitters have been placed is only divided by the frame and thus supports the theory that both portraits were conceived as a unit. The original frame was probably hinged so that it could be closed or propped upright and did not necessarily hang on the wall. Various elements subtly convey both Christian and humanistic symbolic meaning, some alluding to love and wedlock.'In den Worten von Ernst Buchner'Der frühlingshafte Zauber eines neuen Weltzeitalters liegt über den Tafeln.' Koepplin 2003, 133. (In the words of Ernst Buchner 'A spring magic of a new age envelopes these panels.')

Description in

[Friedlander/Rosenberg 1978, 66-67]

[Koepplin 1973]

[Koepplin 2003, 133]

  • Portrait of Anna Cuspinian, 1502

Images

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Technical studies

29.03.1998Scientific analysis

  • Identification of wood species / Dendrochronology

Support

Identification of wood species; Microscopy of cross-sections:

Species: spruce (Picea spec.)

Sample taken by Heydenreich 1995

[Letter in the Archive, Oskar Reinhart Collection 'am Römerholz', Winterthur]

Old catalogue entry by Frehner: Limewood

  • analysed by Peter Klein

06.09.1995Technical examination / Scientific analysis

  • X-radiography
  • Identification of wood species / Dendrochronology
  • Instrumental material analysis
  • Micro-sampling / cross-sections
  • Stereomicroscopy
  • Infrared reflectography
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Support

The support consists of one broad tangentially cut pinewood plank (60.3 x 45.4 cm; a ratio of c. 4:3) with the grain running vertically. It may be concluded from the rings visible in the x-radiograph that both panels of the diptych are from the same plank. The top edge of the panel depicting Anna Cuspinian can be matched with the bottom edge of the panel depicting Johannes. Numerous knots have been preserved in the wood. On the reverse beneath the branding mark is an original wooden insert (c. 8 x 1.5 cm). The reverse of the panel has been smoothed with a plane in the direction of the grain (the plane marks are up to 3 cms wide) and fibres (flax tow) have been applied locally. The wooden insert is also covered with fibres.

The edge of the panel has been slightly bevelled/chamfered on the reverse along all sides (a width of c. 1 cm). As the burr of the ground runs directly along the left side of the panel and the bevel is not present it can be assumed that the panel has been cropped slightly at a later stage (c. 4 mm). There are indentations around the edge of the panel on all four sides, which are probably due to a previous framing system. On the reverse of the panel a black and subsequent light green coating can be identified. The black coating could be original. The green coating is clearly visible in the x-radiograph and may contain lead white.

Comment:

The species of wood and the woodwork are the same as the diptych depicting a portrait of the Viennese Lawyer and his wife (1503, FR 8, 9) and thus suggest that they were created during the same period and are of the same geographic origin. Koepplin's theory that both portrait pairs were originally of the same size cannot be confirmed.

Ground and Imprimatura

The painting has a white ground. It appears to be a glue/chalk ground (EDX analysis of a sample showed the presence of calcium). A burr created by the ground is present on all four sides of the panel about 0.1-0.7 cm from the edge (top 0.6-0.4; left 0.3-0.4; below 0.2 -0.7; right c. 0.1 cm). The area to which ground was applied measures 59-59.2 x 44.7-44.5 cm. There are intermittent incised lines visible along the upper and right edge of the panel in the ground (parallel to the burr). The burr is covered with a layer of black paint (c. 2 cm wide).

A pigmented imprimatur cannot be identified.

[see 1995 CA10 (Dr Gunnar Heydenreich)]

Underdrawing

Black fluid drawing medium, probably applied with a brush. Visible with the naked eye in, amongst others, the area of the upper lip. Lines have partially separated into single islands of colour, possibly resulting from a water-based ink and the repellent action of an oily isolating layer.

[Infrared reflectogram (Konrad, Berlin)]

Paint Layers and Gilding

Gilding:

The rings, belt, corset, chains and parts of the bonnet are created employing metal leaf (appears to be gold leaf). The mordant for the matt gilding is pigmented grey/brown. The gilding on the bonnet and the corset was carried out after the first layer of flesh paint was applied, subsequently the contours were corrected with flesh paint.

Paint Layers:

The initial layer of the flesh paint is a pinkish dead colouring. It is a rather flat application predominantly in the vertical direction. The subsequent modelling of the facial features was carried out with light pink admixtures (cheeks, forehead and the bridge of the nose) and brown glazes in the areas of shadow. Contours are drawn in brown paint. Small amounts of blue pigment were identified in the half tones.

In the x-radiograph the face appears to be executed with a degree of fluidity and exhibits a relatively weak absorption profile (reflects the lighting situation rather than the facial features). Obvious brushstrokes are only visible in the area of the forehead. The eyeballs are painted bluish white; the iris blue and the pupils are black without reflections. The contours of the pink eyelids, below the eyes and individual eyelashes are described with brown to blackish paint. A flat application of brown paint is employed to depict the eyebrows. The lips are modelled in vermilion mixed with white, the shadow on the upper lip appears to be achieved with red lake and a brown line separates the upper and lower lips.

The sky was initially painted with a violet to grey admixture containing fluorite and lead white (EDX). This grey underpainting was lightened to white along the horizon. The blue paint was dabbed on with a brush while holding both the foliage and the bonnet in reserve. Microscopic examination suggests that the blue pigment is azurite.

The sitter's red brocade robe was initially modelled employing light red (admixtures of a red pigment and lead white), while the depth of shadow in the folds was achieved with red lake. The pattern on the brocade although partially described in red lake is predominantly carried out with white admixtures over which followed a red lake glaze. The corset is created by employing various coloured glazes (green, red and brown)and lead white over gold coloured metal leaf. The white blouse is painted with varying ratios of lead white and blue pigment.

The landscape in the background was carried out after the red robe. An initial flat application of dark green paint was applied to establish the basic form of the foliage. On top of this a lighter green tone was employed to define single groups of leaves, which were then modulated with a green glaze. This glaze now has a slight brownish appearance, particularly along the edge of the craquellee (similar discolouring is not visible in the green glaze of the corset).

[see 1995 CA10 (Dr Gunnar Heydenreich)]

  • written by Gunnar Heydenreich

1995Technical examination / Scientific analysis

  • Micro-sampling / cross-sections
  • Instrumental material analysis

Microscopy of paint cross-sections in incident and ultraviolet light; EDX:

Cross-section number: EP 097

Brief description of paint: violet grey underpaint beneath the blue sky

Location: Front, top edge, violet grey underpaint

Incident Light microscopy: yes

Incident light microscopy_photo: slide

Ultraviolet light: yes

Ultraviolet light microscopy_photo: slide

EDX: no

Observations:

1.Violet grey underpaint containing white (lead white?) and crystalline violet (Fluorite?) pigment particles. Initial paint layer beneath the blue sky. Single azurite and black pigment particles are also present as well as glassy brown lake particles (protrusions). The layer has a uniform yellow florescence in ultra violet light.

0.White ground (missing).

Comment: The light violet underpaint is similar to that found on the painting FR4. It appears to consist of a mixture of predominantly fluorite and lead white.

Sample list (91) 0

Cross-section No. EP 098

Brief description of paint: Blue sky with grey underpaint and black boarder

Sample Location: top edge right, sky with grey underpaint and black boarder.

Incident Light Microscopy: yes

Incident Light Microscopy Photo: Slide

Ultraviolet Light: yes

Ultraviolet Light Photo: Slide

EDX: yes

Observations:

2.Black Layer: Homogenous black consisting of very fine pigment particles. Black boader lies directly over the light blue layer. Black appearance in ultraviolet light.

3.Light Blue Layer: azurite and white pigment particles. Also glassy yellowish-transparent protrusions, irregular in shape. In ultraviolet light appears the same as the underpaint.

4.Light violet layer: white (lead white) and pale violet crystalline pigments (fluorite) single red pigment particles also present, weaker fluorescence in ultraviolet light but also yellowish.

5.Whitish/yellowish layer (calcium carbonate) Ground. Appears uniformly yellow in ultraviolet light.

[see 06.09.1995 CA10 (Dr Gunnar Heydenreich)]

  • written by Gunnar Heydenreich
  • Infrared reflectography
  • irr

Underdrawing

DESCRIPTION

Tools/Materials:

- fluid, black medium and brush

Type/Ductus:

- freehand underdrawing

- thin to broader lines

Function:

- relatively binding for the final painted version; lines delineate contours and describe the essential details and the facial features; no representation of volume

Deviations:

- minor alterations made during the painting process to clearly define form

INTERPRETATION

Attribution:

- Lucas Cranach the Elder

[Smith, Sandner, Heydenreich, cda 2013]

  • X-radiography
  • x_radiograph
  • x_radiograph
  • x_radiograph

Condition Reports

Date2003

Catalogue entry

"Das Bild befindet sich in einem guten Zustand. Die Holztafel ist etwas gewölbt. Inkarnat, Partien mit Gold und Himmel sind etwas stark gereinigt. Einige, zum Teil verfärbte Retouchen im Himmel"

[Koepplin 2003, 127]

Date1995

The painting is in a stable condition. The panel exhibits a slight convex warp. Inactive wood worm is present along the bottom of the panel. A crack in the support '(Possibly a split) runs from the top to the bottom of the panel through the bonnet, the left shoulder and to the right of the carnation. In the upper half of the painting the retouching of this crack is c. 5mm wide. The flesh paint is slightly damaged in the area of the chest. Cracquellee is particularly prominent in the flesh paint, the sky and the brocade. There are some white fills along the edge of the panel. The green application/coating on the reverse of the panel has been reduced slightly by the application of tow (material fibres) in some areas.

  • written by Gunnar Heydenreich

Conservation History

Date23.04.2010 -

Treatment Report:

,Construction of two climatically controlled display cases, surface cleaning, local application of a dilute solution of dammar varnish to areas where the varnish had sunk.'

[Archive, Oskar Reinhart Collection 'am Römerholz', Winterthur, revised 2011]

  • conservation treatment by Paul Pfister

Date1969

Treatment Report:

'A) Small blisters in the paint layer were treated in areas of the sky, the bonnet and the chest..

B) Consolidation of the complete paint layer

C) Elimination of disturbing retouches, which had darken.'

[Archive, Oskar Reinhart Collection 'am Römerholz', Winterthur, revised 2011]

  • conservation treatment by Paolo Cadorin

Date1968

Treatment Report:

Frame: old coatings removed and replaced by new gilding

[Archive, Oskar Reinhart Collection 'am Römerholz', Winterthur, revised 2011]

  • conservation treatment by W Geissmann

Date1925

'According to the present owner the paintings were restored in Munich (by Kinkelin) shortly after their appearance on the art market. Some overpaint was removed during this intervention.'

[Koepplin 1973, 66]

  • conservation treatment by Kinkelin

Citing from the Cranach Digital Archive

Entry with author
<author's name>, 'Portrait of Anna Cuspinian', <title of document, data entry or image>. [<Date of document or image>], in: Cranach Digital Archive, https://lucascranach.org/en/CH_SORW_1925-1a/ (Accessed {{dateAccessed}})
Entry with no author
'Portrait of Anna Cuspinian', <title of document, data entry or image>. [<Date of document, entry or image>], in: Cranach Digital Archive, https://lucascranach.org/en/CH_SORW_1925-1a/ (Accessed {{dateAccessed}})

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