Portrait of a Bride

Portrait of a Bride

Titles

Portrait of a Bride

-

Portrait of a Young Lady

[Heydenreich 2007 A, 303]

Painting on lime wood (Tilia sp)

Medium

Painting on lime wood (Tilia sp)

[Klein, Report 2013]
[Löcher, Cat. Nuremberg 1997, 160]

A half-length portrait without hands against a blue background, facing left. The sitter has grey-blue eyes and blond hair that is visible on her temples. She wears a red watered silk dress with narrow sleeves, a laced bodice with a broadly patterned gold boarder. There is a depiction of the

A half-length portrait without hands against a blue background, facing left. The sitter has grey-blue eyes and blond hair that is visible on her temples. She wears a red watered silk dress with narrow sleeves, a laced bodice with a broadly patterned gold boarder. There is a depiction of the Virgin with a unicorn, flanked either side by two people (hunters ?) on her bib. She wears a gold choker and a golden chain around her neck. Her bonnet consists of a padded dark plait, a woven boarder decorated with pearls and a red band.

[Löcher, Cat. Nuremberg 1997, 160]

Attribution
Lucas Cranach the Elder

Attribution

Lucas Cranach the Elder

'...or an early assistant (Christof Maler?)'
[Heydenreich 2007 A, 310]

'attributed to'
[Löcher, Cat. Nuremberg 1997, 160]

'?'
[Heydenreich 1997, 7]

Production dates
about 1500 - 1506
1523

Production dates

about 1500 - 1506

[Heydenreich 1997, 7-11]
[Heydenreich 2007 A, 303-311]

1523

[Löcher, Cat. Nuremberg 1997, 160]

1532

[Braune, Cat. Nuremberg 1909, No. 614]
"irrtümlich" [Löcher, Cat. Nuremberg 1997, 161]

Dimensions
Dimensions of support: 41.9 x 33.5 cm

Dimensions

  • Dimensions of support: 41.9 x 33.5 cm

  • [Löcher, Cat. Nuremberg 1997, 160]

Signature / Dating
None
Inscriptions and Labels
On the painted surface (later addition): - top left, two line inscription in roman capitals: ,AETATIS SVAE XXI/ 1523' - Coat …

Inscriptions and Labels

Stamps, Seals, Labels:

  • On the painted surface (later addition):
  • - top left, two line inscription in roman capitals:
  • ,AETATIS SVAE XXI/ 1523'
  • - Coat of arms above:
  • Gold shield with a black diagonal band on which there are three roses; the helm is decorated with a bouquet of three red roses; the foliage is black and gold
  • - above in office script:
  • 'Magdalena von / Büritz'
  • Reverse of the panel:
  • - top right:
  • in white paint 'Gm 614'
  • - bottom left:
  • in blue pencil 'Gm 614'
  • remains of two seals
  • [Löcher, Cat. Nuremberg 1997, 160]
Owner
Germanisches Nationalmuseum, Nuremberg
Repository
Germanisches Nationalmuseum, Nuremberg
Location
Nuremberg
CDA ID
DE_GNMN_Gm614
FR (1978) Nr.
FR-none
Persistent Link
https://lucascranach.org/en/DE_GNMN_Gm614/

Provenance

  • acquired before 1882
    [Löcher, Cat. Nuremberg 1997, 160]

Literature

Reference on page Catalogue Number Figure/Plate
Heydenreich 2007 A 303-310
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 2000 229-236
AuthorGunnar Heydenreich
Title"Modello" oder "Faksimile"? Eine Studie zur frühen Werkstattpraxis Lucas Cranachs d.Ä.
Publicationin F.M. Kammel and Carola B. Gries, eds., Begegnungen mit Alten Meistern: Altdeutsche Tafelmalerei auf dem Prüfstand. (Beiträge zur Tagung im Germanischen Nationalmuseum, Nürnberg 1997)
Place of PublicationNuremberg
Year of Publication2000
Pages229-236
Heydenreich 1998 A 194, Fn. 66
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 A 57
AuthorIngo Sandner
TitleZeichengeräte um 1500
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
Pages51-60
Cat. Nuremberg 1997 160-161
AuthorKurt Löcher
TitleDie Gemälde des 16. Jahrhunderts. Germanisches Nationalmuseum Nürnberg
Place of PublicationOstfildern-Ruit
Year of Publication1997
Heydenreich 1997 7-11
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
Pohl 1971 37-44
AuthorHorst Pohl
TitleZu Dürers Bildnisformat. Das Verhältnis von Höhe zu Breite bei seinen Bildnisgemälden
JournalDeutscher Verein für Kunstwissenschaft
IssueBd. 25
Year of Publication1971
Pages37-44
Cat. Nuremberg 1909 614
AuthorHeinz Braune
TitleKatalog der Gemälde-Sammlung des Germanischen Nationalmuseums in Nürnberg
Place of PublicationNuremberg
Year of Publication1909
Cat. Nuremberg 1893 No. 560
AuthorAugust von Essenwein, Adolf Bayersdorfer, Franz von Reber
TitleKatalog der im germanischen Museum befindlichen Gemälde
Place of PublicationNuremberg
Year of Publication1893
Cat. Nuremberg 1885 No. 514
AuthorAugust von Essenwein, Adolf Bayersdorfer, Franz von Reber
TitleKatalog der im germanischen Museum befindlichen Gemälde
Place of PublicationNuremberg
Year of Publication1885
Cat. Nuremberg 1882 No. 498
AuthorAugust von Essenwein, Adolf Bayersdorfer, Franz von Reber
TitleKatalog der im germanischen Museum befindlichen Gemälde
Place of PublicationNuremberg
Year of Publication1882
  • Portrait of a Bride, about 1500 - 1506

Images

Compare images
  • overall
  • overall
  • overall
  • reverse
  • irr
  • detail
  • detail
  • detail
  • detail
  • detail
  • detail
  • other

Technical studies

08.04.2013Scientific analysis

  • Identification of wood species / Dendrochronology

Support

Identification of wood species: lime wood (Tilia sp.)

  • analysed by Peter Klein

09. 2010Technical examination / Scientific analysis

  • Infrared reflectography
  • irr

Underdrawing

DESCRIPTION

Tools/Materials:

- dry medium (black chalk?)

Type/Ductus:

- linear underdrawing; freehand underdrawing or traced?

- thin lines

Function:

- relatively binding for the final painted version; delineating contours and generally describing the essential details of the face; no representation of volume

Deviations:

- minor alterations during the painting process to clearly define form

INTERPRETATION

Attribution:

- not possible

[Smith, Sandner, Heydenreich, cda 2012]

  • photographed by Gunnar Heydenreich
  • photographed by Ingo Sandner

1997Technical examination / Scientific analysis

  • Identification of wood species / Dendrochronology
  • Infrared reflectography
  • Stereomicroscopy
  • reverse
  • detail
  • detail
  • detail
  • detail
  • detail

Support

- lime wood (Tilia sp)

- single plank

- 0.5-0.9 cm thick

- the panel has been minimally trimmed along the top edge and by at least the width of the bevel (4-5cm) along the bottom

Reverse:

- the edge is bevelled at the side and the top

Ground and Imprimatura

- the panel was framed during the ground appplication and painting process

- the edge of the ground and the painted surface is present at both the top and the bottom of the panel

- ground: thin, light red, applied horizontally

Underdrawing

- the underdrawing was executed with a pen

- the contours and the main lines within the shapes are indicated

- the shape of the right upper arm is described with numerous looped lines

Paint Layers and Gilding

- the boarder of the dress and the blouse, the belt, the neckband and the headband are oil gilded

- highlights are thinly applied with white paint

- the depiction of the Virgin and the Unicorn on the bib is drawn in black with highlights in white

- the grass is painted with a green glaze

- the early, but not original gold inscription 'Magdalena von Büritz' has an impasto reddish brown underpaint

- the later inscription bearing the sitter's age and date is executed in lead tin yellow

- the coat of arms was executed at this time

[Bartl, Cat. Nuremberg 1997, 160]

1995Technical examination / Scientific analysis

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

Examination of cross-ssections; Incident light microscopy; UV microscopy; EDX:

Cross-section No.: EP 078

Brief description of paint: yellow and black paint from the foliage on the coat of arms

Sample location: Foliage to the left of the shield

Sample No.: 109

Incident light microscopy: yes

UV microscopy: yes

EDX: yes

Observations:

3. Yellow layer without glassy inclusions - EDX: Pb, Sn ie. lead tin yellow employed to decorate the shield

2. Green layer: applied in two layers with blue pigments, discoloured green (Overpaint of the background)

1. Transparent dark layer: varnish

0. Light blue layer: blue crystalline pigment particles, white pigment particles (original background colour) Ground missing

Cross-section No.: EP 071

Brief description of paint: gilding with black drawing

Sample location: bottom edge of the panel, belt, gilding with black drawing

Sample No.: 102

Incident light microscopy: yes

UV microscopy: yes

EDX: yes

Observations:

3. Greyish black layer: ornament

1. Gold, applied directly over the ground, thickness c. 1000nm (rough measurement)

0. Light red layer: Ground, EDX: Pb, Ca - red lead, lead white, and probably calcium carbonate (chalk)

Cross-section No.: EP 092

Brief description of paint: flesh paint, two layers

Sample location: face, above the right eye

Sample No.: 155

Incident light microscopy: yes

UV microscopy: yes

EDX: yes

Observations:

3. Thin almost white layer: Highlights Pb, Ca - lead white and chalk

2. Transparent layer: glaze - EDX: Pb, Ca

1. Light pink layer: with white (lead white!), red (vermillion), brown (EDX: brown ochre, and a brown organic dye), black (vine black), blue pigment particles (azurite) and glassy inclusions. It exhibits a strong fluoresences - EDX: Matrix Pb, Ca, traces of Fe, flesh paint

0. Light red layer: Ground

Commentary:

The composition of the highlights is the same as that of the underpainting, including the amount of calcium.

  • written by Gunnar Heydenreich

Condition Reports

Date1997

  • large wooden insert (3.5 x 2 cm) in the bottom right corner

  • a split at the right edge of the panel has been reinforced with a nail, which was driven into the side of the panel. Small splinters of wood have been inserted along 6 cm of the split from the reverse

  • the panel is slightly convexed

  • old wood worm damage

  • the panel has been minimally trimmed at the top and by at least the width of the bevel (c. 4-5 cm) at the bottom

  • the background was overpainted with green at an early stage

[Bartl, Cat. Nuremberg 1997, 160-161]

  • written by Anna Bartl

Conservation History

Date1981 - 1987

Restoration: 1981-87

  • a green glaze, which had turned brown was removed from the background, but was left beneath the inscription and and the coat of arms

  • abrasion and small losses in the face and the bodice

  • the gold on the neckband has been partially reconstructed

[Bartl, Cat. Nuremberg 1997, 161]

Citing from the Cranach Digital Archive

Entry with author
<author's name>, 'Portrait of a Bride', <title of document, data entry or image>. [<Date of document or image>], in: Cranach Digital Archive, https://lucascranach.org/en/DE_GNMN_Gm614/ (Accessed {{dateAccessed}})
Entry with no author
'Portrait of a Bride', <title of document, data entry or image>. [<Date of document, entry or image>], in: Cranach Digital Archive, https://lucascranach.org/en/DE_GNMN_Gm614/ (Accessed {{dateAccessed}})

Help us to improve the Cranach Digital Archive.

Please contact us, if you have noticed a mistake.