A Princess of Saxony

A Princess of Saxony

Title

A Princess of Saxony

[http://www.nga.gov/fcgi-bin/tinfo_f?object=33751] (accessed 11.02.2013)

Painting on limewood

Medium

Painting on limewood

[Klein, Report 2013]
[http://www.nga.gov/fcgi-bin/tinfo_f?object=33751&detail=tech] (accessed 11.02.2013)

'These pictures rank among Cranach's most engaging and charming portraits of children. In the expressions of the boy and girl the artist has captured the wistful innocence and gentle seriousness of childhood. Depicted in half length against a black background, the pair are regally dressed. [...] The girl's costume is

'These pictures rank among Cranach's most engaging and charming portraits of children. In the expressions of the boy and girl the artist has captured the wistful innocence and gentle seriousness of childhood. Depicted in half length against a black background, the pair are regally dressed. [...] The girl's costume is equally splendid. Her dress is a heavy red fabric, perhaps velvet or a dull satin, with a floral pattern in yellow and with slashed and puffed sleeves. At the top of the bodice is a wide piece of cloth-of-gold, and around her shoulders is an elaborate gold chain. A final touch of elegance is provided by the gold necklace edged with delicate white flowers (daisies?) made of enamel.'

[Hand, Cat. Washington 1993, 30]

Attribution
Lucas Cranach the Elder

Attribution

Lucas Cranach the Elder

[http://www.nga.gov/fcgi-bin/tinfo_f?object=33751] (accessed 11.02.2013)

Production date
about 1517

Production date

about 1517

[http://www.nga.gov/fcgi-bin/tinfo_f?object=33751] (accessed 11.02.2013)
[Kuhn1936, 37, under no. 90]

Dimensions
Dimensions of support: 43.4 x 34.3 cm (17 1/16 x 13 1/2 in.)

Dimensions

  • Dimensions of support: 43.4 x 34.3 cm (17 1/16 x 13 1/2 in.)

  • Dimensions including frame: 58.4 x 48.9 cm (23 x 19 1/4 in.)

  • [http://www.nga.gov/fcgi-bin/tinfo_f?object=33751] (accessed 11.02.2013)

Owner
National Gallery of Art, Washington, D. C.
Repository
National Gallery of Art, Washington, D. C.
Location
Washington
CDA ID
US_NGA_1947-6-2
FR (1978) Nr.
FR124
Persistent Link
https://lucascranach.org/en/US_NGA_1947-6-2/

Provenance

  • (Julius Böhler, Munich, owned jointly with August Salomon, Dresden, through Paul Cassirer, Berlin).[1]
  • purchased August 1925 by Ralph Harman [1873-1931] and Mary Batterman [d. 1951] Booth, Grosse Pointe, Michigan
  • gift 1947 to NGA

[1] Julius Böhler, letter of 9 November 1987 to Dr. John Hand, in curatorial files.

[http://www.nga.gov/fcgi-bin/tinfo_f?object=33751&detail=prov] (accessed 11.02.2012)

Exhibitions

Detroit 1926, No. 17
New York 1929
New York 1939, No. 61
Washington, D.C. 1998, No. 14
Rome 2010, No. 15

Literature

Reference on page Catalogue Number Figure / Plate
Sandner, Heydenreich, Smith-Contini 2015 129, Fn. 7
AuthorGunnar Heydenreich, Ingo Sandner, Helen Smith-Contini
TitleVeränderungen beim Unterzeichnen in Cranachs Werkstatt und die Arbeitsweise von Sohn Lucas
Publicationin Elke A. Werner, Anne Eusterschulte, Gunnar Heydenreich, eds., Lucas Cranach der Jüngere und die Reformation der Bilder
Place of PublicationMunich
Year of Publication2015
Link https://lucascranach.org/application/files/5215/6337/7366/Heydenreich_Sandner_Smith-Contini_2015_-_Unterzeichnung.pdf
Pages128-141
Nuechterlein 2011 5-6 Fig. 6
AuthorJeanne Nuechterlein
TitleTranslating Nature Into Art: Holbein, The Reformation, and Renaissance Rhetoric
Place of PublicationUniversity Park, Pennsylvania
Year of Publication2011
Exhib. Cat. Rome 2010 176 - 178 No. 15 Pl. p. 177
EditorGalleria Borghese, Rome, Anna Coliva, Bernard Aikema
TitleCranach. L'altro rinascimento / a different renaissance, [Rome, Galleria Borghese 15 ottobre 2010 - 13 febbraio 2011]
Place of PublicationMilan
Year of Publication2010
Exhib. Cat. Frankfurt 2007 258-260 69 p. 259
EditorBodo Brinkmann
TitleCranach der Ältere, [Frankfurt, Städel Museum, 23 Nov 2007 - 17 Feb 2008]
Place of PublicationOstfildern
Year of Publication2007
Hand 2004 138 No. 104 Fig.
AuthorJohn Oliver Hand
TitleNational Gallery of Art. Master Paintings from the Collection.
Place of PublicationWashington, New York
Year of Publication2004
Southgate 2001 88-89 Fig.
AuthorM. Therese Southgate
TitleThe Art of JAMA II: Covers and Essays from The Journal of the American Medical Association
Place of PublicationChicago
Year of Publication2001
Beckett 1999 20 Fig.
AuthorWendy Beckett
TitleMy Favorite Things. 75 Works of Art from Around the World.
Place of PublicationNew York
Year of Publication1999
Löcher 1995 A 15
AuthorKurt Löcher
TitleReview of 'German Paintings of the Fifteenth through Seventeenth Centuries', by John Oliver Hand with the assistance of Sally E. Mansfield
JournalKunstchronik
Issue43/1 (January 1995)
Year of Publication1995
Washington Art Gallery 1994 unpaginated Fig.
Authorn. a.
TitleNew Publications
JournalCircle Bulletin
Issue11 (Spring 1994)
Year of Publication1994
Cat. Washington 1993 27-31 Fig. p. 29
AuthorJohn Oliver Hand, Sally E. Mansfield
TitleGerman Paintings of the Fifteenth through Seventeenth Centuries
Place of PublicationWashington
Year of Publication1993
Southworth 1989 9 Fig. cover
AuthorM. Therese Southworth
TitleThe Cover
JournalJournal of the American Medical Association
Issue262, no. 2 (July 14, 1989)
Year of Publication1989
Cat. Washington 1985 104 Fig.
TitleEuropean Paintings. An Illustrated Catalogue
Place of PublicationWashington
Year of Publication1985
Snyders 1985 374, 375 Fig. 440
AuthorJames Snyder
TitleNorthern renaissance Art. Painting, Sculpture and the Graphic Arts from 1350-1575
Place of PublicationNew York
IssueFirst edition
Year of Publication1985
Cat. Washington 1984 165 No. 180 Fig.
AuthorJohn Walker
TitleNational Gallery of Art, Washington, D.C.
Place of PublicationNew York
Year of Publication1984
Friedländer, Rosenberg 1979 No. 124
AuthorMax J. Friedländer, Jakob Rosenberg
EditorG. Schwartz
TitleDie Gemälde von Lucas Cranach
Place of PublicationBasel, Boston, Stuttgart
Year of Publication1979
King 1978 33-34 Plate 13
AuthorMarian King
TitleAdventures in Art: National Gallery of Art, Washington, D.C.
Place of PublicationNew York
Year of Publication1978
CDA.Cat. Washington 1975 A 165 No. 186 Fig. p. 164
AuthorJohn Walker
TitleNational Gallery of Art, Washington
Place of PublicationNew York
Year of Publication1975
CDA.Cat. Washington 1975 B 86 Fig. p. 87
Authorn. a.
TitleEuropean Paintings: An Illustrated Summary Catalogue
Place of PublicationWashington
Year of Publication1975
Koepplin 1974 A 29, 34, Fn. 47
AuthorDieter Koepplin
TitleZwei Fürstenbildnisse Cranachs von 1509
JournalPantheon
Issue32
Year of Publication1974
Pages25-34
CDA.Cat. Washingtion 1968 27 No. 897 Fig.
Authorn. a.
TitleEuropean Paintings and Sculpture: Illustrations (Companion to the Summary Catalogue, 1965)
Place of PublicationWashington
Year of Publication1968
CDA.Cairns, Huntington, Walker 1966 114 (vol. 1) Fig. 115
EditorCairns, Huntington, John Walker
TitleA Pageant of Painting from the National Gallery of Art
Volume1, 2
Place of PublicationNew York
Year of Publication1966
Cat. Washington 1965 33
Authorn. a.
TitleSummary Catalogue of European Paintings and Sculpture
Place of PublicationWashington
Year of Publication1965
Werl 1965 31-35 Fig.
AuthorE. Werl
TitleHerzogin Elisabeth von Sachsen, die Schwester Landgraf Philipps von Hessen in bildlischer Darstellung. Zur Identifizierung von Cranachbildnissen. Landgraf Phillips von Hessen Kinderbild?
JournalHessisches Jahrbuch für Landesgeschichte
Issue15
Year of Publication1965
Pages23-37
Cat. Washington 1963 306 Fig.
AuthorJohn Walker
TitleNational Gallery of Art, Washington, D.C.
Place of PublicationNew York
Year of Publication1963
Ruhmer 1963 87 No. 17 Fig.
AuthorEberhard Ruhmer
TitleCranach
Place of PublicationCologne
Year of Publication1963
Broadley 1960 28-29 Fig.
AuthorHugh T. Broadley
TitleGerman Painting in the National Gallery of Art (Booklet no. 9 in Ten Schools of Painting in the National Gallery of Art, Washington, DC)
Volume9
Place of PublicationWashington
Year of Publication1960
Booth Collection 1949 71, 75 Fig.
Authorn. a.
TitleRalph and Mary Booth Bequest in der National Gallery of Art
JournalPhoebus
Issue2, No. 2 (1949)
Year of Publication1949
Roggeveen 1949 340 Fig. 338
AuthorL. J. Roggeveen
TitleDe National Gallery of Art te Washington.
JournalPhoenix
Issue4, no. 12 (December 1949)
Year of Publication1949
Booth Collection 1948 A 40 Fig.
Authorn. a.
TitleGifts from the Booth Collection
JournalConnoisseur
Issue122 (1948)
Year of Publication1948
Booth Collection 1948 B C7 Fig.
Authorn. a.
TitleNews of Art and Artists
JournalThe Sunday Star
Issue(February 1, 1948)
Year of Publication1948
Booth Collection 1948 C unpaginated Fig.
Authorn. a.
TitleRecent Additions to the Ralph and Mary Booth Collection
Place of PublicationWashington
Year of Publication1948
Louchheim 1948 56-57 Fig.
AuthorAline B. Louchheim
TitleChildren Should Be Seen
JournalArt News Annual
Issue46 (1948)
Year of Publication1948
Posse 1943 57 No. 46 Fig.
AuthorHans Posse
TitleLucas Cranach d. Ä.
Place of PublicationVienna
IssueSecond edition
Year of Publication1943
Craven 1939 261, 261 Plate 62
AuthorThomas Craven
TitleA Treasury of Art Masterpieces from the Renaissance to the Present Day
Place of PublicationNew York
Year of Publication1939
Vaughan 1939 10-11
AuthorMalcolm Vaughan
TitleOld masters at the fair
JournalParnassus
Issue11
Year of Publication1939
Pages5-13
Exhib. Cat. Cambridge, Mass. 1936 37 091 Plate 19
AuthorCharles L. Kuhn
EditorGermanic Museum, Cambridge, Mass.
TitleCatalogue of the Germanic Museum exhibition of German paintings of the fifteenth and sixteenth centuries. Lent from American collections
Place of PublicationCambridge Mass.
Year of Publication1936
Kuhn 1936 37 091 pl. XIX
AuthorCharles L. Kuhn
TitleA Catalogue of German Paintings of the Middle Ages and Renaissance in American Collections
Place of PublicationCambridge Mass.
Year of Publication1936
Frankfurter 1933 A Fig. 19
AuthorAlfred M. Frankfurter
TitleArt in the Century of Progress
JournalThe Fine Arts
Issue20, no. 2 (June 1933)
Year of Publication1933
Friedländer, Rosenberg 1932 50 105
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
Washington Art Gallery 1929 B 196 Fig. p. 199
Authorn. a.
TitleIllustrierte Berichte: New York.
JournalPantheon
Issue3 (1929)
Year of Publication1929
Exhib. Cat. Detroit 1926 17
EditorDetroit Institute of Arts
TitleThe third loan exhibition of old masters: Italian, Flemish, Dutch, German, French, Spanish and English, fifteenth to nineteenth century [Detroit, Institute of Arts]
Place of PublicationDetroit
Year of Publication1926

Research History / Discussion

'Although there is no way of identifying the sitters precisely, it seems reasonable to suggest, as was first done by Friedländer and Rosenberg, that they could be a Saxon prince and princess [1]. The regal costume accord well with that found in other of Cranach's portraits of Saxon nobility. The crown worn by the boy is a traditional sign of engagement [2]. The girl is probably the boy's sister, as the absence of a garland on her head makes it unlikely that she is his fiancée. The betrothal of noble children was not uncommon; Talbot called attention to Berhard Strigel's portrait of Ludwig of Hungary (Kunsthistorisches Museum, Vienna), aged nine and wearing a crown, painted in 1515 on the occasion of a double engagement of Ludwig and his sister to a daughter and son of Philip the Fair [3]. In addition, Cranach's portrait dated 1529 of a young boy wearing a betrothal crown (FR329) is tentatively identified as a prince of Saxony [4].

There have been two attempts to identify the children in the National Gallery portraits. Friedländer and Rosenberg thought they were possibly the children of Duke George the Bearded of Saxony: Prince Friedrich, born in 1504, and Princess Christine, born in 1505 [5]. Werl suggested that they might be Count Philipp of Hesse and duchess Elizabeth of Saxony, but Koepplin, the only author to comment, did not find this proposal convincing [6]. Neither identification can be verified. While it is often difficult to guess the ages of children in portraits, it seems to the author that the girl is several years older than her brother, which argues against the identification put forward by Friedländer and Rosenberg.

Following Friedländer and Rosenberg, most authors agree in dating the portraits to the period around 1516/1518. Ruhmer thought they might be later but declined specific comments, while Werl would like to date them around 1512, primarily because Elizabeth of Saxony was born in 1502 [7].

As noted by Talbot, however, there are stylistic comparisons with the pair of portraits of Maurice Buchner, dated 1518, and his wife Anna (US_MIA_57-11_FR127, US_MIA_57-10_FR128), and further, the National Gallery's paintings are not as patterned and as severe as the 'Portrait of a Young Girl' [in Paris] usually dated around 1520 (FR153) [8].'

[1] [Friedländer, Rosenberg 1932, Nos. 104, 105]

[2] Compare, for example, Cranach's portraits of Johann Friedrich the Magnanimous and Sibyl of Cleve, both dated 1526 (DE_KSW_G11_FR304, DE_KSW_G12_FR305). Both persons wear crowns; the betrothal took place in September 1526 and the wedding in June of the following year. See also [Bramm 1948, cols. 1125-1130]

[3] Charles Talbot, draft catalogue entry, 1966, in NGA curatorial files. For portrait of Ludwig of Hungary see:

[Otto 1964, 68, 102, No. 61, Fig. 129]

[4] [Friedländer, Rosenberg 1979, No. 329]

[5] [Friedländer, Rosenberg 1932, Nos. 104, 105]

[6] [Werl 1965, 31-35][Koepplin 1974, 34, Fn. 47]

[7] [Ruhmer 1963, 84, Nos. 16, 17][Werl 1965, 34]

[8] Talbot, draft catalogue entry, 1966

[Hand, Cat. Washington 1993, 30, 31]

  • A Princess of Saxony, about 1517

Images

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Technical studies

08.04.2013Scientific analysis

  • Identification of wood species / Dendrochronology

Support

The painting is executed on a single piece of linden that was cut tangentially.[1]

[1] The wood was identified as linden (sp. Tilia) by Peter Klein, examination report, 29 September 1987, in NGA curatorial files.

[http://www.nga.gov/fcgi-bin/tinfo_f?object=33751&detail=tech] (accessed 11.02.2013)

  • analysed by Peter Klein

03. 2013Technical examination / Scientific analysis

  • X-radiography
  • x_radiograph
  • created by National Gallery of Art, Washington, D. C.

07.12.2006Scientific analysis

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

Paint Layers and Gilding

Some pigments were identified using polarized light microscopy (PLM). [1] The orange fills on both paintings were identified as red lead with circa ten percent lead white addition. The black backgrounds were made with carbon black (bone black?). The mid-tone in the prince’ sleeve consists of vermillion and lead white. The same pigment mixture was found in the decoration on top of this layer. This is in contrast to the decoration on the sleeve of the princess painting, which is built up with vermillion mixed with lead-tin-yellow and some carbon black (bone black?). The ground tone for her sleeve consists of vermillion with a five to ten percent lead white addition. On top of this layer is a red glaze mixed with some carbon black (bone black?).

[1] Both paintings were sampled on 07.12.2006 and then mounted. See the conservation files for the location of the samples.

[After Treatment Report, National Gallery of Art, Washington 2007]

See also attached pdf [forthcoming]

  • examined by Bart J. C. Devolder

13.07.2006Technical examination / Scientific analysis

  • irr

Underdrawing

Both paintings were examined using infrared refectography (IRR) [1].

The princess painting shows some sketch lines in the hands and in the red stripes of her bodice. Also the location of the lips and eyes are marked with some fine black lines.

[1] Both paintings were examined with FLIR/Indigo Alpha VisGaAs camera with H filter 0.5-1.7 microns (50 mm lens) on July 13th 2006 and the prince painting was re-examined August 24th 2006.

[After Treatment Report, National Gallery of Art, Washington 2007]

See also attached pdf [forthcoming]

Underdrawing

DESCRIPTION

Tools/Material:

- dry drawing material, dark chalk (?)

Type/Ductus:

- economic, freehand underdrawing

- thin lines

Function:

- only roughly binding for the final painted version; the lines delineate the main contours, define some forms therein and possibly describe the facial features (lips); no representation of volume with hatching strokes

Deviations:

- corrections were made to forms during the painting process (hands, sleeves)

INTERPRETATION

Attributions:

- Lucas Cranach the Elder?

[Sandner, Smith-Contini, Heydenreich, cda 2017]

  • examined by Bart J. C. Devolder

1993Technical examination / Scientific analysis

  • Identification of wood species / Dendrochronology

Support

The painting is executed on a single piece of linden that was cut tangentially.[1]

[1] The wood was identified as linden (sp. Tilia) by Peter Klein, examination report, 29 September 1987, in NGA curatorial files.

[http://www.nga.gov/fcgi-bin/tinfo_f?object=33751&detail=tech] (accessed 11.02.2013)

31.01.1989Technical examination / Scientific analysis

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

Support

The panel is made from a single piece of Linden wood: scientific analysis has confirmed the identity of this wood. Although dendrochronologic dating was attempted by Dr. Peter Klein, there is no master chronology for Linden wood.

Ground and Imprimatura

The painting is executed on a thin white ground.

Underdrawing

I.R. reflectography shows little evidence of underdrawing.

Paint Layers and Gilding

The fleshtones have been built up thinly still taking advantage of the ground to provide depth, the garments and hair are much more thickly and opaquely painted. The red garment consists of an opaque orange underpainting which has the shadows built up over it in dark transparent colours. The decoration in the dress and highlights in the hair and necklace are the final touches of paint. These have been brushed on dryly and thickly. [...] The x-radiographs show no significant artists changes.

[Examination report, National Gallery of Art, Washington 1989]

See also attached pdf [forthcoming]

  • examined by Michael Swicklik
  • examined by David Bull

Condition Reports

Date31.10.2005 - 01.11.2005

This summarized report should be viewed in conjunction with the report from 1989.

All of the horizontal bars move. The panel is approximately a quarter of an inch thick and has been visibly planed down. Woodworm channels are visible on the back of the panel.

The overall appearance of the varnish is a sprayed, cloudy surface with large aperture cracks throughout, and a large glossy area at lower right. Under microscopic examination it appears to be pitted and it is difficult to see through the surface of the painting in some areas. According to the conservation file, the varnish is a natural resin (est.) with a 1962 spray application of Acryloid B-72 applied to the surface.

Treatment Recommendations:

  • sampling and analysis

  • remove discoloured and disfiguring varnish and inpainting

  • consolidate loose paint

  • check structural condition of the panel

  • apply isolating varnish, inpaint losses, apply final varnish

[Examination Report and Treatment Proposal, National Gallery of Art, Washington 2005]

See also attached pdf [forthcoming]

  • examined by Kristen J. Loudermilk
  • examined by Sarah L. Fischer

Date1993

The painting has been cradled. Additional strips of wood approximately 1 cm wide have been attached to the left and right edges and retouched to match the adjoining paint. The painting is in fairly good condition, although there is extensive worm tunneling on the reverse. The face is somewhat abraded, and there is a good deal of thin retouching in the shadows. Scattered throughout are very small retouchings covering losses and abrasion.

[http://www.nga.gov/fcgi-bin/tinfo_f?object=33751&detail=tech] (accessed 11.02.2013)

Date31.01.1989

The condition of the paint is reasonably good. There is a good deal of thin retouching in the face, which because it is among the most thinly applied passages, is also the most abraded. There are some retouched losses along the hairline as well as other scattered loss over the painting. U.V. shows the extent of the retouching adequately. .[..] the additions along the edge are retouched as well as a good deal of frame abrasion at the bottom edge.

There is a fine network of cracks running primarily in the vertical direction corresponding to the orientation of the wood grain.

The support is in good condition in spite of extensive worm tunneling on the reverse. It appears stable and adequately strong.[...]

Besides the panel on which the original painting was applied, there are additional borders attached on the left and right edges which are approximately 3/8 inch wide. These are retouched over to match the surrounding paint. The wood in these additions appears to be oak. On the reverse of the panel a cradle has been applied; it consists of five fixed vertical members and four sliding horizontal members. The wood in the cradle also appears to be oak.

The varnish is a relatively thick layer of Natural resin. The greenish fluorescence under Ultraviolet light indicates this type of resin. There is an area in the lower right which fluoresces less than the rest of the painting, indicating that some of the varnish was removed in this area.[...]

The varnish is milky and has become somewhat opaque, particularly in the background. The effect is to make the background appear absolutely flat.

[Examination report, National Gallery of Art, Washington 1989]

See also attached pdf [forthcoming]

  • examined by Michael Swicklik
  • examined by David Bull

Conservation History

Date24.07.2007

Treatment Report Summary [to be read in conjunction with the condition reports from 1989 and 2007]

  • the surface dirt was removed

  • the varnish and some overpaint was removed using organic solvents

  • the old inpainting and fills were removed with a scalpel under the microscope

  • a removable varnish was applied

  • the losses were filled using a proprietary, removable synthetic filling putty

  • the cracks, losses and several zones showing abrasion were inpainted using dry pigments ground into a synthetic resin

  • a removable synthetic varnish was applied over the whole

[After Treatment Report, National Gallery of Art, Washington 2007]

See also attached pdf [forthcoming]

  • conservation treatment by Bart J. C. Devolder

Date10. 1962

On October 1962, the princess painting went to the restorer:

-'removed surface dirt and refinished the surface with B-72 resin.'

[from the 'Repair of work of Art' records in the National Gallery of Art, Washington, cited in: After Treatment Report, National Gallery of Art, Washington 2007]

See also attached pdf [forthcoming]

Date01. 1948

'wiped'

[from the 'Repair of work of Art' records in the National Gallery of Art, Washington, cited in: After Treatment Report, National Gallery of Art, Washington 2007]

See also attached pdf [forthcoming]

Date24.02.1947 - 28.02.1947

The old entry cards show that both paintings were with the restorer for four days, starting on the 24th of February 1947. There is no record on the Repair of work of art record of what treatment was done during those days.

[from the 'Repair of work of Art' records in the National Gallery of Art, Washington, cited in: After Treatment Report, National Gallery of Art, Washington 2007]

See also attached pdf [forthcoming]

Date29.01.1947

Both paintings went to the restorer again on January 29th 1947, this time for the following:

The princess painting:

  • cleaned painting superficially

[from the 'Repair of work of Art' records in the National Gallery of Art, Washington, cited in: After Treatment Report, National Gallery of Art, Washington 2007]

See also attached pdf [forthcoming]

Date12.12.1946

On December 12th 1946 both paintings were at the restorer's [1]

The painting of the princess:

  • glazed forehead, parts of face and neck, right hand and left puff sleeve

[1] this restorer was possibly Frank Sullivan, then on contract the National Gallery of Art

[from the 'Repair of work of Art' records in the National Gallery of Art, Washington, cited in: After Treatment Report, National Gallery of Art, Washington 2007]

See also attached pdf [forthcoming]

Citing from the Cranach Digital Archive

Entry with author
<author's name>, 'A Princess of Saxony', <title of document, data entry or image>. [<Date of document or image>], in: Cranach Digital Archive, https://lucascranach.org/en/US_NGA_1947-6-2/ (Accessed {{dateAccessed}})
Entry with no author
'A Princess of Saxony', <title of document, data entry or image>. [<Date of document, entry or image>], in: Cranach Digital Archive, https://lucascranach.org/en/US_NGA_1947-6-2/ (Accessed {{dateAccessed}})

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