Agony in the Garden

Agony in the Garden

Title

Agony in the Garden

[cda 2014]

Painting on wood (cradled)

Medium

Painting on wood (cradled)

[Letter from the Uppsala Auktionskammare, 05.2011; Koepplin Archive]

Enveloped in a blue gown Christ kneels on a circular rocky plateau in the garden of Gethsemane awaiting the agony of the Passion. Full of fear he looks up to the left from where an angel descends towards him, bearing the very chalice, that Jesus refers to in Matthew 26,

Enveloped in a blue gown Christ kneels on a circular rocky plateau in the garden of Gethsemane awaiting the agony of the Passion. Full of fear he looks up to the left from where an angel descends towards him, bearing the very chalice, that Jesus refers to in Matthew 26, 42, when he asks his father if it could pass over him. The angel also carries the cross, symbolic of the Passion. In the foreground of the composition the sleeping apostles are shown, separated by a hedge. In addition to the young St John the grey haired figure of St Peter can be identified. In the distance the betrayal of Christ to the soldiers by Judas is visible.

[Görres, cda 2016]

Attributions
Workshop Lucas Cranach the Elder
Lucas Cranach the Elder and Workshop

Attributions

Workshop Lucas Cranach the Elder

[Blumenroth, Heydenreich, unpublished examination report, 04.10.2023]

Lucas Cranach the Elder and Workshop

[Werner Schade, 03/01/2012]

Copy after Lucas Cranach the Elder

[Letter from D. Koepplin to Christie's London 2005 and to Uppsala Auktionskammare 2011, Koepplin archive]

Production dates
about 1520 - 1530
after 1537

Production dates

about 1520 - 1530

[Werner Schade, 03/01/2012]

after 1537

'contemporary copy or later' [Letter D. Koepplin to Uppsala Auktionskammare in the Archive D. Koepplin, 2011]

Dimensions
Dimensions of support:

Dimensions

  • Dimensions of support:

  • 61.7 x 42.5 cm

  • [Letter from Christie's, London to D. Koepplin, 07.2005; Koepplin archive]

Signature / Dating

None

Inscriptions and Labels

Reverse of the cradle: - stamp: 'WIJISG'; label: 'Lempertz 425430', and remnants of another label
[Blumenroth, Heydenreich, unpublished …

Inscriptions and Labels

Stamps, Seals, Labels:

  • Reverse of the cradle: - stamp: 'WIJISG'; label: 'Lempertz 425430', and remnants of another label

  • [Blumenroth, Heydenreich, unpublished examination report, 04.10.2023]

Owner
Private Collection
Repository
Private Collection
CDA ID
PRIVATE_NONE-P071
FR (1978) Nr.
FR-none
Persistent Link
https://lucascranach.org/en/PRIVATE_NONE-P071/

Provenance

  • Hon. Richard Mark Watson (Great Britain 1906 - 1978)
    [Letter from the Uppsala Auktionskammare, 05.2011; Koepplin Archive]
  • 2005 Christie's London, WD186
  • Private Collection, Sweden
    [Letter from the Uppsala Auktionskammare, 05.2011; Koepplin Archive]
  • 2011 Uppsala Auktionskammare, Sweden, lot 1117 (withdrawn)
  • 2012 sold at Uppsala Auktionskammare, Sweden, 14.06.2012, lot 1117
    [Uppsala Auktionskammare online, accessed 05.04.2024]

Research History / Discussion

In 1910, a very similar version of this subject was with Julius Böhler (Munich) [PRIVATE_NONE-P476]. Another version - probably a more recent copy - is in the Central Slovakian Museum in Banska Bystrica.

[Blumenroth, Heydenreich, unpublished examination report, 04.10.2023]

A comparison with the version, which was with Böhler in 1910, and other contemporary works by Cranach the Elder ([AT_TLFI_Gem116], [UK_CIA_P-1947-LF-77] and [DE_SMG_SG674] reveals that the execution of this panel is somewhat less accomplished, not so rich is detail and more schematic in the foliage. Evidence supporting Cranach the Elder's involvement, cannot be found in either in the underdrawing or in the execution. However, it is possible that he added the final finely drawn details, such as the eyes and locks of hair. This painting is a well-preserved and high-quality work from the workshop of Lucas Cranach the Elder, created around 1520-30.

[Blumenroth, Heydenreich, unpublished examination report, 04.10.2023]

  • Agony in the Garden, about 1520 - 1530

Images

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  • x_radiograph
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Technical studies

04.10.2023Technical examination / Scientific analysis

  • Stereomicroscopy
  • UV-light photography
  • Infrered reflectography
  • X-radiography
  • Instrumental material analysis

Support

The following examination methods were applied: Stereomicroscopy, XRF analysis (Thermo Scientific - Niton XL3t GOLDD+), UV-light, X-radiography (Oehm and Rehbein, Leonardo/ Varex-Perkin Elmer XRPad2 4336) and infrared reflectography (Osiris 900 - 1700 nm).

The support consists of several vertically aligned hardwood boards (possibly limewood). The X-radiograph shows a fibrous application at right angles to the direction of the grain.

Ground and Imprimatura

A white ground was applied to the recto. A barb and partial incisions are preserved c. 1 - 1.2 cm from the edge of the panel.

Underdrawing

An underdrawing is visible in the infrared reflectogram. The lines were probably executed with pen and brush and a liquid black medium. The figures and landscape were initially drawn using longer and broader curved lines and then the faces and other details were described with finer and shorter lines. The stone slab on which Christ knees is considerably larger in the underdrawing.

Paint Layers and Gilding

The following elements were detected using XRF and in conjunction with their optical characteristics the following pigments were identified:

Yellow: Pb, Ca, Hg, Sn, Sr, (Fe)

Pb: lead white; Pb/Sn: lead tin yellow; Ca: chalk/gypsum (?); Hg: vermilion; Sr: component of Ca/ Pb (?)

Yellow: Ca, Pb, Cu, Sn, Fe, Zn, Hg, Sr

  • Ca: chalk/ gypsum (?); Pb: white lead; Pb/ Sn: lead tin yellow; Cu: copper blue/ green (?); Fe: Iron oxide/ ochre (?); Zn: Zinc white (retouching?); Hg: vermilion, Sr: Component of Ca/ Pb (?)

Green: Ca, Pb, Cu, Fe, Ti, Sn, Sr, (Mn)

Ca: chalk/ gypsum (?); Pb: lead white; Pb/ Sn: lead tin yellow; Cu: copper green/ blue (?); Fe/Mn: iron oxide/ ochre (?); Ti: component Fe/ titanium dioxide (?); Sr: component of Ca/ Pb (?)

Blue: Pb, Cu, Ca, Fe, Sr (Ti)

Pb: lead white, Cu: copper-containing blue/ green (?); Ca: chalk/ gypsum (?); Fe: iron oxide/ ochre (?); Ti: component Fe/ titanium dioxide (?); Sr: component of Ca/ Pb (?)

Flesh paint: Pb, Ca, Hg, Sr

Pb: lead white; Ca: chalk/ gypsum (?); Hg: vermilion, Sr: component of Ca/ Pb (?)

Red: Ca, Fe, Hg, Pb, Sr

Ca: chalk/ gypsum (?); Fe: iron oxide/ ochre (?); Hg: vermilion; Pb: lead white; Sr: component of Ca/ Pb (?)

The following pigments were identified in the paint layer: lead white, lead tin yellow, vermilion, iron oxide red, copper-containing green pigment and azurite.

Opaque to translucent paint was applied in several layers using both a brushing and stippling technique. The blue robes are modulated over a grey underpainting. Significant changes during the painting process are not visible in the x-radiograph.

[Blumenroth, Heydenreich, unpublished examination report, 04.10.2023]

  • examined by Diana Blumenroth
  • examined by Gunnar Heydenreich
  • Infrared reflectography
  • irr

Underdrawing

DESCRIPTION

Tools/Material:

- fluid, black medium, brush

Type/Ductus:

- relatively detailed, freehand underdrawing

- thin lines; short curved lines in the face

Function:

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

Deviations:

- minor corrections were made during the painting process; small changes

INTERPRETATION

Attribution:

- Workshop Lucas Cranach the Elder

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

Condition Reports

Date04.10.2023

The painting is in a stable condition.

Support:

  • in recent times the panel has been thinned to c. 0.4 - 0.5 cm and a cradle was attached to the reverse

  • open wood worm channels (inactive)

  • slightly trimmed at he left and right edges

  • wooden strip attached to the left edge (from the centre c. 19 cm long and c. 0.9 cm wide)

Paint layer:

  • pronounced craquelure and slightly abraded in places

  • some minor retouches, particularly in the area of the joint and along the upper edge

Coatings:

  • recent varnish

[Blumenroth, Heydenreich, unpublished examination report, 04.10.2023]

  • examined by Diana Blumenroth
  • examined by Gunnar Heydenreich

Citing from the Cranach Digital Archive

Entry with author
<author's name>, 'Agony in the Garden', <title of document, data entry or image>. [<Date of document or image>], in: Cranach Digital Archive, https://lucascranach.org/en/PRIVATE_NONE-P071/ (Accessed {{dateAccessed}})
Entry with no author
'Agony in the Garden', <title of document, data entry or image>. [<Date of document, entry or image>], in: Cranach Digital Archive, https://lucascranach.org/en/PRIVATE_NONE-P071/ (Accessed {{dateAccessed}})

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