Winged Altarpiece with Scenes from the Life of the Virgin [central panel]: Twelve Year Old Jesus in the Temple (t. l.), Christ Appearing to his Mother (t. r.) and The Death of the Virgin (b.)

Winged Altarpiece with Scenes from the Life of the Virgin [central panel]: Twelve Year Old Jesus in the Temple (t. l.), Christ Appearing to his Mother (t. r.) and The Death of the Virgin (b.)

Title

Winged Altarpiece with Scenes from the Life of the Virgin [central panel]: Twelve Year Old Jesus in the Temple (t. l.), Christ Appearing to his Mother (t. r.) and The Death of the Virgin (b.)

[cda 2022]

Painting on hardwood

Medium

Painting on hardwood

[Blumenroth, Heydenreich, unpublished examination report, 23.08.2021]

This is the central panel of a small triptych with representations from the Life of the Virgin. It is divided by a black band into two registers. The upper register is divided further into two halves: on the left Christ is shown in the temple as a twelve year old,

This is the central panel of a small triptych with representations from the Life of the Virgin. It is divided by a black band into two registers. The upper register is divided further into two halves: on the left Christ is shown in the temple as a twelve year old, seated on a stone block with a open book on his lap and the ten commandments propped up behind him. The Elders are gathered around him, and the Virgin can be seen entering from the right. The other scene depicts Christ returning to visit his mother. The Virgin sits at the right in an almost bare room, while Christ enters from the left bearing the victory banner and clothed in a voluminous and once red robe. The lower register shows the death of the Virgin. She sits upright in an fourposter-bed that is raised on a wooden pedestal and positioned within a tiled interior. The twelve apostles have gathered around the bed to take leave of the Virgin. Two kneel in the foreground reading a book. St John closes the Virgin's hands around a candle. Accompanied by the Virgin’s soul the Holy Trinity look down on the scene from a heavenly cloud framed by cherubs.

[cda 2022]

Attributions
Workshop Lucas Cranach the Elder
Circle of Lucas Cranach the Elder

Attributions

Workshop Lucas Cranach the Elder

[Blumenroth, Heydenreich, unpublished examination report, 23.08.2021]; [Körner 1931, 120-121]

Circle of Lucas Cranach the Elder

School of Lucas Cranach [Körner 1931, 120-121]

Production date
about 1515 - 1518

Production date

about 1515 - 1518

[Blumenroth, Heydenreich, unpublished examination report, 23.08.2021]

Dimensions
Dimensions of visible painted surface: 40.6 x 22.9 cm

Dimensions

  • Dimensions of visible painted surface: 40.6 x 22.9 cm

  • Dimensions with frame: 53.5 x 31.8 x 3.2 cm

  • Dimensions of the whole altarpiece: 53.5 x 63.6 cm (open, including frame)

  • [Blumenroth, Heydenreich, unpublished examination report, 23.08.2021]

Signature / Dating
None
Inscriptions and Labels
On the reverse of the panel: - remnants of an adhesive label: ' wartz, Bo ministrator schen …

Inscriptions and Labels

Stamps, Seals, Labels:

  • On the reverse of the panel:
  • - remnants of an adhesive label: '[…] wartz, Bo […] ministrator […] schen Familien […] sache'
  • - in dark paint: 'No. 3[?]'
  • - a red wax seal
  • [Blumenroth, Heydenreich, unpublished examination report, 23.08.2021]
Owner
Private Collection
Repository
LWL-Museum für Kunst und Kultur, Münster
Location
Münster
CDA ID
PRIVATE_NONE-P527a
FR (1978) Nr.
FR-none
Persistent Link
https://lucascranach.org/en/PRIVATE_NONE-P527a/

Provenance

  • It may originally have been commissioned by a citizen of Aachen, where in the 19th century it was the property of Louis Beissel (1842-1914), a manufacturer of sewing pins.
    LWL-Newsroom, accessed 09.03.2023
  • Schwartz Collection, Bocholt (Körner, Rodenkirchen, 1931)
  • Private collection, Rheine
    [Blumenroth, Heydenreich, unpublished examination report, 23.08.2021]

Literature

Reference on page Catalogue Number Figure / Plate
Körner, Rodenkirchen 1931 120, 121
AuthorJohannes Körner, Nikolaus Rodenkirchen
TitleStadt Bocholt
SeriesDie Bau- und Kunstdenkmäler von Westfalen
Place of PublicationMunich
Year of Publication1931
Show Literature

Research History / Discussion

Some of the characteristics of the support, the ground, the underdrawing, the painting materials and the technique correspond with works created in the Cranach workshop. The execution of the underdrawing is similar to the method employed by Lucas Cranach the Elder, however details differ from works attributed to him. The calligraphic line at the bottom edge of the central panel could not yet be deciphered.

Many stylistic points of reference can be found between this work and other works from the Cranach workshop, particularly for example a panel from 1516 illustrating the 10 Commandments in Wittenberg (DE_LHW_G25). Details like fabric patterns are found on various paintings, for example 'The Lamentation of Christ' (about 1515-1516, HU_SMB_138), 'The Adoration of the Magi' (about 1513-16, DE_SMB_SG677) and 'The Adoration of the Magi' (about 1515, DE_SKD_GG1932B). Numerous similarities were established between this retable and four small panel attributed to the Cranach workshop and dated to about 1516, now in the Gemäldegalerie, Dresden (DE_SKD_GG1932B, DE_SKD_GG1932BB, DE_SKD_GG1932A, DE_SKD_GG1932AA).

An evaluation of the examination results leads us to believe that this retable, which is painted with such high-quality was in all probability produced about 1515-18 in the Cranach workshop.

[Blumenroth, Heydenreich, unveröffentlichter Untersuchungsbericht, 23.08.2021]

Connected Works

Winged Altarpiece with Scenes from the Life of the Virgin [left wing]: The Annunciation (t.), The Visitation (b.) [recto]; St Roche [verso]
  • Winged Altarpiece with Scenes from the Life of the Virgin [left wing]: The Annunciation (t.), The Visitation (b.) [recto]; St Roche [verso], about 1515 - 1518
  • PRIVATE_NONE-P527b
  • Painting
  • Private Collection
Winged Altarpiece with Scenes from the Life of the Virgin [right wing: The Nativity (t.), The Adoration of the Magi (b.) [recto]; St Nicholas [verso]
  • Winged Altarpiece with Scenes from the Life of the Virgin [right wing: The Nativity (t.), The Adoration of the Magi (b.) [recto]; St Nicholas [verso], about 1515 - 1518
  • PRIVATE_NONE-P527c
  • Painting
  • Private Collection
  • Winged Altarpiece with Scenes from the Life of the Virgin [central panel]: Twelve Year Old Jesus in the Temple (t. l.), Christ Appearing to his Mother (t. r.) and The Death of the Virgin (b.), about 1515 - 1518

Images

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Technical studies

23.08.2021Technical examination / Scientific analysis

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

Support

The following methods were employed during the examination: stereomicroscopy, XRF spectroscopy (Nitron XLt), UV-light, x-radiography, Infrared reflectography (Osiris 900 - 1700 nm)

The panel consists of two hardwood boards (not beech or oak but possibly limewood) with vertical grain, carefully smoothed on the reverse and not coated. A rebate is present on the upper edge. There are narrow later additions at the other edges.

Ground and Imprimatura

A barbe or crest of ground has been preserved along the edges of the panel (see x-radiograph), suggesting that frame members were attached to the panel before the ground was applied. It may be assumed that the panels were fixed in their original frame before the ground was applied as the dimensions of the painted surface on the inner and outer sides of the wings differ.

Underdrawing

Clearly pronounced underdrawing with a brush and /or quill pen employing a fluid black medium. The architectural elements and the figures are defined by contours and described in some detail, considering the scale of the image. Areas of shadow are occasionally indicated with hatching strokes.

At the bottom edge of the panel at the right there is a short calligraphic line, c. 1 cm in height and 1.6 cm in width. This does not outline anything and was not considered in the painting process.

No major changes to the composition were made during the painting process.

Paint Layers and Gilding

Using XRF analysis various elements were detected in the paint and after a comparison of their optical characteristics the following pigments could be identified:

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

Pb: lead white; Pb/ Sn: lead tin yellow; Ca: chalk/gypsum? Fe/Mn: iron oxide/ ochre; Cu: blue/green with copper content?; Hg: vermillion; Sr:?

Blue: Cu, Pb, Ca, Fe, Sr

Cu: blue with copper content/azurite; Pb: lead white; Ca: chalk/ gypsum? Fe: iron oxide/ ochre; Sr:?

Green: Cu, Pb, Ca, Sn, Fe, Sr, (Zn)

Cu: green with copper content; Pb: lead white; Pb/ Sn: lead tin yellow; Ca: chalk/ gypsum? Fe: iron oxide/ ochre; Sr: ?; Zn?: lake substrate? retouching?

Red lake: Pb, Ca, Zn, Mn, Fe, Sr

Pb: lead white; Zn: zinc, retouching, lake substrate? Ca: chalk/ gypsum? Fe/ Mn: iron oxide/ ochre; Sr: ?

Red: Ca, Hg, Pb, Zn, Fe, Mn

Ca: chalk/ gypsum? Hg: vermillion; Pb: lead white, Zn: zinc white, retouching? lake substrate?; Fe/Mn: iron oxide/ ochre

The following pigments were identified in the paint layers: lead white, lead tin yellow, vermillion, azurite and a green pigment containing copper. The zinc detected in the areas of red paint and the fluorescence of this area under UV radiation may indicate the presence of retouching or overpaint applied as a glaze.

The paint was applied with a brush in opaque layers and as a glaze. In the robes the paint was in part stippled (see x-radiograph) and the patterns on the floor tiles were scratched into the paint with a pointed object. In the x-radiograph no major changes are visible in the composition.

Framing

Gilded frame (not original)

[Blumenroth, Heydenreich, unveröffentlichter Untersuchungsbericht, 23.08.2021]

Condition Reports

Date23.08.2021

The altarpiece is generally stable and in very good condition.

Six wooden blocks were glued to the reverse of the central panel to reinforce the joint. Some old woodworm holes are also visible. In particular the areas of red paint and the sky exhibit overpaint that was applied as a glaze to increase the colour saturation. The gilding on the frame is flaking and requires consolidation.

[Blumenroth, Heydenreich, unpublished examination report, 23.08.2021]

Citing from the Cranach Digital Archive

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Entry with no author
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