Portrait of Georg of Wiedebach

- limewood (Tilia sp.). Identification of wood species carried out by Dr. Peter Klein, report from 19.11.1995 in the conservation file

- probably cut out of a larger panel (tangential)

- 2 horizontally aligned boards with butt joints, rebate on all four sides, probably originally fitted in an engaged frame

- board widths: I: 35.8 left/35.3cm right, II: 4.2cm right/3.7cm left

- the original surface exhibiting marks from a block-plane has been retained on the reverse

- no reinforcement of the joins is visible

- rebate width: 8-11mm

- the format has not been altered

- white ground, probably chalk/glue (not tested)

- thick ground, c.0.5 mm

- the ground extends to the edge of the panel at the bottom and the left and right sides (indicating that the panel may have been cut out of a larger panel with a ground application), along the top edge the boarder of the ground is visible (no barb), small ridges could result from the ground applied to the original frame or from the paint layers

- an incised line runs almost continuously along all four sides, further incised lines: run from the corners at a c. 45° into the image, c. 5-6cm

- an economic linear drawing (faintly visible under the flesh paint in IR), probably traced with a stylus

- not visible to the naked eye

- no incised lines visible

- no alteration in the painted version

Flesh paint:

Shadows and half-shadows were initially painted with a cool greyish-brown wash on the white ground and softly blended. The ground remained exposed to achieve the highlights. After drying an admixture of vermilion/ochre/white was delicately applied wet-in-wet, and in part scumbled over the greyish-brown to create a mother-of-pearl-like flesh tone. This tone creates the half-shadows. The shadows were created by leaving the dark brownish-grey underpaint. Highlights executed in a vermilion/lead white admixture were in part blended with the wet flesh tone. Finally fine contours were added in a brown tone. The hair was initially underpainted with ochre. After drying linear highlights and contours were added.

Garments:

initial opaque dark brown layer, modulated by blending a lighter coloured paint. The collar was initially painted employing a semi-opaque light brown, a linear texture was added employing brown and black tones.

Background:

initial brown layer, subsequent semi-opaque blackish-brown layer applied

Text:

off-white paint applied with a pointed brush (no ruled lines)

- glazed to opaque application, impasto highlights

- flat and pointed brushes of differing widths, thin paint consistency, economic use of impasto

- the painted surface extends minimally beyond the incised lines

- not original, 19th century

- dimensions: 61.5 x 51.5 x 5 cm

- coniferous wood

- mitred, consisting of two profiile frames; imitation ebony and ripppled batten with gold accents, gilded inner profile

[Museum der bildenden Künste, 11.06.2014]

Identification of wood species: limewood (Tilia sp.)

DESCRIPTION

Tools/Materials:

- possibly very diluted fluid black pigmented medium, pointed brush

Type/Ductus:

- possibly traced lines in the face and free hand underdrawing in the rest of the image

Function:

- not readily discernable

Deviations:

- none visible

INTERPRETATION

Attribution:

- not possible

Comments:

- possibly transferred (traced) from a preparatory drawing or pre-existing design and reinforced with the black fluid medium

[Smith, Sandner, Heydenreich, cda 2012]

1983 treated by I. Käppler (report in the painting's file)

After attempts to bring the panel into plane in a climate tent it returned to its original warped position when exposed to a RH of 60%. This warp was accomodated with the present framing system which includes applicationof pressure from the reverse.

Dammar in oil of terpentine with the addition of a small amount of beeswax 1983

[Museum der bildenden Künste, 11.06.2014]

Paintings file:

• 1983 treated by Ingrid Käppler, Leipzig, (report available)

[Museum der bildenden Künste, 11.06.2014]

Archivakte III - 1890-1923

Sheet 95.[verso:] Invoice for treatments carried out by Philipp Ritter for the city council, Berlin 9.12.1900.

Cranach the Elder, 'Portrait of Apollonia von Wiedebach' [Inv.-No. 762] and 'Portrair of Georg von Wiedebach' [Inv.-No. 673] for 100 Mark.

[Museum der bildenden Künste, 11.06.2014]

Restaurierungsakte IV 1824-1932

394. 'Portrait, Georg von Wiedebach' by Cranach the Elder [Inv.-No. 762] cleaned, rubbed with oil of terpentine, regenerated

[Museum der bildenden Künste, 11.06.2014]