Signed upper left with the artist's device of a serpent with folded wings This work is listed in the Cranach Digital Archive (PRIVATE_NONE-P248) as a painting by Lucas Cranach the Younger and has been confirmed as such by Dieter Koepplin upon examination of photographs. It can be dated to around 1540. This composition with Christ as the Man of Sorrows flanked by the Virgin Mary and John the Evangelist was designed by Lucas Cranach the Elder. His son adapted it at least three times. The earliest depiction of this type was created by Cranach the Elder and is dated 1524. The panel, housed in the Augustiner Museum in Freiburg, shows Jesus sitting on his tomb between Mary and St John against a landscape backdrop and surrounded by numerous angels in the sky (cf. M. J. Friedländer and J. Rosenberg, The Paintings of Lucas Cranach, London 1978, p. 101, cat. no. 156). In a further version painted ten years later, Cranach the Elder dispenses with the landscape in order to heighten the image’s emotional appeal. However, the putti on the upper edge of the painting still distract from the principal figures (cf. Friedländer, op. cit., p. 112-3, no. 219). The earliest versions of this composition by Lucas Cranach the Younger follow his father’s 1534 composition. The tendency towards a more intense emotional effect is already evident. In his painting in the Historisches Museum Regensburg, the figures are closer to the viewer and the angels are reduced to several at prayer in the corners (cf. op. cit., p. 148, no. 383). The wounded and tortured body of Christ stands out more starkly against the dark background. The dialogue between the suffering Christ – bearing the wounds of the Crucifixion, but still alive – and the devotional beholder is more direct. In the the version of the Hamburg Kunsthalle from around 1540, Cranach leaves out the angels all together. This version is the closest to the present painting in both composition and style (op. cit., p. 148, no. 384). It is thought that this version showed Christ sitting on his tomb as in the Hamburg version before the panel was trimmed. The figures of the Virgin Mary weeping into Her robe and St John with his hands clasped in prayer flanking Jesus are largely extant in this work.
Xilografia tratta dal volume a stampa intitolato "Wittenberger Heiltumbuch". Nel lotto anche una xilografia dalla Grande Passione di Albrecht Dürer. La più grande 48,5 x 38 cm (2) - Woodcut taken from the printed volume entitled "Wittenberger Heiltumbuch". The lot also includes a woodcut from the Great Passion by Albrecht Dürer. The largest 19 x 14.9 in. (2)
Die Erschaffung Evas. Holzschnitt. Nicht monogr., sign. oder dat. (1542). 26 x 15,8 cm. - Unter Passepartout. Passavent IV, 26, 42 b. - Textholzschnitt aus der Bibel von Wolrab, erschienen 1542 in Leipzig, mit deutschem Rückentext.
Cranach, Lucas d. J. 1515-1586 Wittenberg, Umkreis/ Nachfolge. Kurfürst Johann Friedrich der Großmütige (1503-1554). Halbfigur in pelzbesetztem Gewand vor halbhoher Brüstung. Auf Holz, rechts oben zweizeilige deutsche Inschrift ''Ioannes Friderich Churfürst/ und Hertzog zu Sachsen'', darunter bezeichnet mit Schlangensignet nach rechts. Tafel vertikal gerissen und restauriert. 59 x 54 cm, gerahmt. Ra. 81,5 x 77 cm. Corpus Cranach (digitales) Werkverzeichnis-Nr.: CC-POR-300-036 (Zuschreibungen, Eigenhändigkeit bzw. Werkstattarbeit ausgeschlossen). Portrait of elector Johann Friedrich of Saxony (1503-1554), on wooden panel, circle/ follower of Lucas Cranach the younger. 59 x 54 cm, frame: 81,5 x 77 cm.
Schule. Der verliebte Alte. -- Öl auf Holz. 21,3 x 16,7 cm. -- -- Begründet auf einem offenbar großen kommerziellen Erfolg wird das Bildthema des ungleichen Paares zu einem der meistwiederholten Themen der Cranach-Werkstatt. Der digitale Corpus Cranach verzeichnet allein unter dieser Werkgruppe augenblicklich 129 Werke. Von der vorliegenden Variante, in der der wohlhabende Alte der jungen Frau einen goldenen Ring an den kleinen Finger steckt während sie mit ihrem rechten Arm seine Schulter umfasst, sind sechzehn Versionen bekannt. Sie alle gehen wohl auf einen Prototyp von der Hand Cranachs d.Ä. zurück, der sich heute im Kunsthistorischen Museum in Wien befindet (Inv. Nr. GG 895). Dieser wird um 1530/40 datiert und ist auch in den Maßen (19,5 x 14,5 cm) recht ähnlich. Das Bildthema lässt sich bis in die Antike zurückverfolgen, nördlich der Alpen war wohl Jacopo de Barbari, Cranachs Vorgänger im Amt des Hofmalers in Wittenberg, der Erste, der es darstellte. Der bedeutende Gelehrte und Humanist Erasmus von Rotterdam greift das Bildthema in seiner berühmten Satire "Lob der Torheit" (1509) vorweg, und macht sich über jene älteren, zahnlosen, weißhaarigen Männer lustig, die jungen Frauen einen Heiratsantrag machen. Die junge Frau bei Cranach d.Ä. ist in der vorliegenden Version nach der neuesten Mode gekleidet, das sorgfältig frisierte Haar wird von einem Haarnetz umfangen, und sie trägt wertvollen Halsschmuck. Ihre Blicke jedoch treffen sich nicht. Während er in Vorfreude an eine der kommenden Nächte denken mag, scheint sie in ihrer Vorstellung bereits in einer verheißungsvollen Zukunft nach seinem Ableben. -- -- - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. -- - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
LUCAS CRANACH THE YOUNGER (WITTENBERG 1515-1586 WEIMAR) Portrait of Caspar Cruciger (1504-1548), bust-length, holding a book oil on panel, marouflaged 14 x 9 in. (35.7 x 22.8 cm.)
(1515 Wittenberg - Weimar 1586), nach. Johannes Bugenhagen, Pastor von Wittenberg. Holzschnitt. 16./17. Jhdt. 33 x 23,3 cm. - Leicht fl., Unten hinterlegter Riss (3,5 cm). R
LUCAS CRANACH, THE ELDER The Martyrdom of St. Matthias. Woodcut, circa 1512. 163x128 mm; 6 1/2x5 1/4 inches, thread margins. From Martyrdom of the Twelve Apostles. A superb, early impression with very strong contrasts and no sign of wear. Hollstein 64.
LUCAS CRANACH II (WITTENBERG 1515-1586) Portrait of Prince Christian I of Saxony (1560-1591), full-length; and Portrait... oil on panel 49 1/8 x 24 1/8 in. (125 x 61.5 cm.), each (2)
St Luke; seated at a desk within a room to the left; with the winged ox at his feet; the Virgin and Child appear in the sky, seen through the window. Woodcut made by Lucas Cranach the Younger circa 1535-1541 and published by Nicolaus Wolrab in 1541. German letterpress on the backside.
LUCAS CRANACH THE YOUNGER (WITTENBERG 1515-1586 WEIMAR) An epitaph: The Resurrected Christ with a donor family oil on panel 70 x 49 1/4 in. (178 x 125 cm.)
Lucas Cranach the Elder The Virgin and Child with the Infant Saint John c. 1512 oil on panel, laid on a second panel 76 × 59 cm by inheritance to the present owner; according to his bequeather the painting has been in family property since at least 1920 In the wide-ranging oeuvre of Lucas Cranach the Elder, depictions of the Virgin Mary occupy a prominent position. While they do feature the most diverse artistic and geographic influences as well as quite some variety in terms of composition, they are invariably possessed of a character that is unmistakably Cranach’s. Both the choice of figures here—consisting of Mary, the Christ child, and the infant St. John the Baptist—and the painting’s overall composition betray a close kinship with Italian output from the late 15th and early 16th centuries. While there does exist documentation of a 1508 trip by Cranach to the Netherlands, the impressions from which are reflected in numerous works, it is to this day a matter of speculation whether the artist ever actually spent time in Italy or simply knew the Italian Renaissance masters from works imported to the North. Expert Prof. Gunnar Heydenreich writes that without a doubt, the composition of the present painting—alongside that of Venus (1509) and the so-called Galluzzo Madonna (ca. 1514) document in a particularly impressive way how Cranach was thoroughly familiar with and adapted works by his Italian contemporaries. It is possible that Cranach took his inspiration directly from a painting acquired by the court in Wittenberg. Cranach’s patron, Frederick III of Saxony, had already signalled his interest in works by Italian painters in a letter written to the Duke of Mantua in 1507. Furthermore, the possibility cannot be excluded that the unknown commissioner of this painting had requested a Madonna done in the Italian manner. There is no proof for the speculation that Cranach might have travelled to Italy during these productive years. But it does seem thinkable that a wandering journeyman may have contributed new pictorial ideas to the Wittenberg workshop at which Cranach employed numerous helpers (see examination report of Prof. Gunnar Heydenreich, 4 February 2018, and Gunnar Heydenreich, "Madonna col Bambino e san Giovannino", 1514, in: Galleria degli Uffizi (ed.), I volti della riforma. Lutero e Cranach nelle collezioni medicee (exh. cat., Le Gallerie degli Uffizi, Firenze 2017/2018), Florence 2017, p. 92). The present painting is an outstanding example of Cranach’s interest in Italian art and underlines his familiarity with the Tuscan-Umbrian High Renaissance. This composition is particularly close to the style of Pietro Perugino, as the 2007 exhibition catalogue emphasises with reference to the work shown there. Some specific similarities to Perugino include the group of figures shifted asymmetrically in their general leftward tendency, Mary’s small blue shawl, and the decorated shawl borders and the nimbuses, both of which are done in powdered gold. These last two features correspond especially to Pietro Perugino’s Madonna with Child and the Infant St. John (ill. 2): "…the lettered strips on the shawl’s borders, filled with pseudo-Kufic symbols in the Italian painting and with a nonsensical sequence of Latin fragments in Cranach’s, as well as the nimbuses, which—in contrast to Cranach’s usual style—consist not of an implied aureola but of a contour shortened to an oval that is filled with golden dots in a rather loose, circular arrangement in the case of Maria and remains empty in the case of the two boys" (Exh. cat., Städel Museum/Royal Academy of Arts 2007, p. 146, cat. no. 17). As Dr. Dieter Koepplin likewise ascertains, this dotted Marian nimbus is based on Italian models, particularly that of Perugino, but is not unique in Cranach’s oeuvre—it is also, for example, employed in the two wings from a 1510 altarpiece showing St. Catherine and St. Barbara (Kassel, Staatliche Kunstsammlungen; see Dieter Koepplin [ed.]/Tilman Falk (ed.), Lukas Cranach. Gemälde, Zeichnungen, Druckgraphik (exh. cat., Kunstmuseum Basel, Basel 1974), vol. 2, Basel 1976, p. 682, no. 594 a, b). Lucas Cranach the Elder The artist Lucas Cranach the Elder was born in Kronach in 1472 and most probably first learned his craft at the workshop of his father, Hans Maler. It was only once he had left home that the artist began using the now world-famous name "Lucas Cranach", which means simply Lucas aus Kronach [Lucas from Kronach]. Documentation from around 1500 indicate that Cranach, having spent a few itinerant years, had taken up residence in Vienna—which, as the imperial residence, was a cultural centre at that time and thus a place where artists quickly found numerous commissions. But just a short while later, Cranach was summoned to Wittenberg by the Saxon Elector Frederick the Wise (1463–1525) to succeed the Italian artist Jacopo de Barbieri (ca. 1440–1515/16) as Frederick’s court painter. This was a decision with far-reaching consequences, for Cranach thus moved to one of the most turbulent centres of the Reformation—where he was to remain until the end of his days, also working for the Saxon Elector’s two successors. Once arrived in Wittenberg, Lukas Cranach also devoted a great deal of attention to woodcuts and newer printing processes. Furthermore, he soon prospered economically from his position at court, enabling him to move out of the electoral palace and down into town in 1507, whereupon he set up his own workshop—which proceeded to expand rapidly. In 1512, during the period that saw the creation of the present work and by which point Lucas Cranach was already a well-established artist, he married Barbara Brengbier (deceased 1541), the daughter of burgher from Gotha, who gave birth to their sons Hans and Lucas in 1513 and 1515 followed by three daughters. His sons went on to work at his workshop, which Lucas Cranach the Younger (1515–1586) eventually took over after his elder brother died prematurely. The Cranach workshop’s broad output encompassed secular decorative commissions for the electoral palaces, works for the church, and incomes as an oft-requested creator of portraits and numerous devotional pictures as well as mythological and allegorical scenes depicting ancient themes. The great demand for works by Cranach and the consequent profitability of his workshop are testified to by the fact that, in 1528, he was said to be Wittenberg’s wealthiest citizen; by that time, he owned several properties and also ran the city’s only apothecary. Cranach’s financial prosperity was followed by his social ascent: for an uninterrupted period running from 1519 to 1549, Cranach was a member of the town council, and he was also chosen as the town’s treasurer and even as its mayor several times (see Bodo Brinkmann, "Das Lächeln der Madonna. Lucas Cranach und die Folgen", in: Exh. cat., Städel Museum/Royal Academy of Arts 2007, p. 17–28). In 1517, after Luther had posted his famed theses, "Cranach apparently did not hesitate to place himself in service of the new cause as a pictorial propagandist." He created leaflets, woodcut illustrations for Luther’s texts, and numerous images of the reformer (which at the time were in very high demand). "Apparently, Cranach’s relationship with Luther was not only personal but also quite friendly" (see. Brinkmann 2007, p. 20 f.). Martin Luther is documented as having been godfather to Cranach’s youngest daughter, and Cranach became the godfather of Luther’s firstborn son in 1525. Although Cranach played an instrumental role in creating the new Protestant iconography starting in around 1530, he also continued working on traditional pictorial themes and also continued to receive commissions from Catholics. He thus, through his painting, managed the diplomatic feat of holding his own amidst the on-going (religious and) political turmoil between the Roman Catholic Church, the Emperor, Martin Luther, and his patron Frederick the Wise as well as Frederick’s successors John the Steadfast (1468–1532) and John Frederick the Magnanimous (1503–1554). Cranach eventually even followed John Frederick to Weimar for two years as his court painter, and it was there that he ultimately passed away in 1553 at the age of 81. (German-language catalogue entries translated by Auktionshaus im Kinsky)
LUCAS CRANACH THE YOUNGER (WITTENBERG 1515-1586 WEIMAR) Portrait of Caspar Cruciger (1504-1548), bust-length, holding a book oil on panel, marouflaged 14 x 9 in. (35.7 x 22.8 cm.)
Lucas Cranach the Younger (1515-1586) and workshop "Portrait of Georg Cracow" (1525-1575, German lawyer and statesman, son-in-law of the reformer Johannes Bugenhagen), o.l. sign. with winged snake, dat. 1563, oil colours over chalk ground on lime wood, 88,5x65cm, examination by Cranach Research Institute positive, contemporary Pentiment at hairline, frame added, 88,5x65cm
Reformation.- Anonymous (active Nuremberg, circa 1557 or later). Follower of Lucas Cranach the Younger (1515-1586). The Great Nuremberg Reformation, woodcut, five blocks printed on seven sheets of laid paper of various sizes conjoined as one, total sheet 397 x 1358 mm (15 5/8 x 53 3/8 in), two sheets with large watermarks of fir-tree with 3 flowers in ornamental roots [datable to c. 1800-1825], old folds, some folds splitting, nicks and losses, browning and surface dirt, unframed, [circa 1557 but later] ⁂ The baptism of Christ witnessed by religious reformers and dignitaries, including Luther, Melanchthon and Erasmus, with panoramic view of Nuremberg in the distance. Other impressions are held in the British Museum, and another with the Stadtmuseum Fembohaus, Nuremberg, Germany.
Lucas Cranach the Younger (1515-1586)-attributed, Loving couple, oil on wooden panel; on the lower left corner a part of 11x6cm later adapted; framed. 53X37cm
Studio of Lucas Cranach the Younger (Wittenberg 1515-1586 Weimar) The Madonna and Child before a curtain held by two angels bears the artist's serpent device (upper left) oil on panel 49.7 x 36.1cm (19 9/16 x 14 3/16in). For further information on this lot please visit the Bonhams website
DIE BEKEHRUNG DES SAULUS Öl auf Holz. Parkettiert. 93,5 x 83 cm. Gemäß Datierung schuf Lucas Cranach d.J. 1549 ein Werk gleichen Themas in größerem breitgezogenem Format, das sich im Germanischen Nationalmuseum Nürnberg befindet, mit den Maßen 115 x 167 cm (Inv. Nr. Gm 226 Leihgabe der Bayerischen Staatsgemälde-Sammlungen München - Alte Pinakothek). Damit zeigt sich das vorliegende Werk in nahezu gleicher Höhe, bei geringerer Breite. Beide Bilder zeigen die Hauptfigur des einstigen Christenverfolgers Saulus im Bildzentrum, der soeben durch eine visionäre Gotteserscheinung zum Christentum bekehrt und damit zum Heiligen Paulus geworden war. Gemäß der Legende (Apostelgeschichte 9, 1-19) befand sich Saulus mit seinem Gefolge auf dem Weg nach Damaskus, als ihn ein Lichtstrahl traf, ihn blendete, und er nach dem himmlischen Ruf „Saulus, Saulus, warum verfolgst du mich?“ vom Pferd stürzte. Im vorliegenden Beispiel wird die Szenerie von einer wüsten unwirtlichen Landschaft mit bizarr hochragenden Felsen hinterfangen, während im Nürnberger Bild im Hintergrund das Schloss Mansfeld stellvertretend für die Stadt Damaskus gezeigt ist. Die Hauptfigur des Saulus in Rüstung, besonders aber das niedergegangene Pferd weisen auffallende Ähnlichkeiten auf. Dies sowohl bei dem spitz zulaufenden Helm, dessen Form an den Judenhut erinnern soll, was ikonologisch auf den Sieg des Christentums über das Judentum verweisen soll. Nahezu identisch ist der Kopf des Pferdes am Boden wiedergegeben, wobei sich die Zügel im vorliegenden Bild in stilisiertem Bogen zeigen, während sie im Nürnberger Bild naturalistisch herabhängen. Was die weiteren Reiterfiguren betrifft, so ist auch da eine reifere Kompositionsauffassung zu erkennen. Dabei sind die wesentlichen figürlichen Elemente beibehalten worden. Eine Abänderung zeigt sich in der Gestalt des geharnischten Begleiters, der in der Nürnberger Fassung im Vordergrund herbeieilend gezeigt ist, während er in unserer Version bereits am Pferd des Saulus zur Hilfe steht. Die Haltung des rechten Armes der Christusfigur in den Wolken links oben unterscheidet sich von der Nürnberger Version und ist nahezu identisch mit der Christusdarstellung im Gemälde „Allegorie der Erlösung“ von 1545 (Leipzig, Museum für Bildende Künste). Auch hier scheinen Haltung und Armgestik Christi in vorliegender Version weit mehr einer erkennbaren Aussage gemäß der Bibellegende zu entsprechen, nämlich als eine gebietende ansprechende Haltung. Beibehalten, bzw. verstärkt wurde der Effekt der aus dem Bild herausleuchtenden Weißtöne in der Wiedergabe der Schimmelpferde, ein Gedanke, der in der ersten Nürnberger Version nur erst angedeutet war. All dies und weitere Details lassen annehmen, dass unser vorliegendes Gemälde erst nach dem Nürnberger Werk entstand. Insgesamt handelt es sich hier um eine räumlich wie kompositionelle Verdichtung der breiter angelegten Nürnberger Version, bei nahezu gleicher Höhe, aber bewusst komprimierter Szenerie auf weniger breitem Bildfeld. Trotz fehlender Signatur schließt alleine diese Beobachtung den Gedanken an eine Kopie gänzlich aus. Im Vergleich zum Malstil des Vaters, Lucas Cranach d.Ä. (1472-1553), dessen Werkstatt er nach dem Tod des Vaters übernahm, zeigt der des Sohnes bereits eine bewegtere Figurenauffassung, und wie im vorliegenden Bild auch durch eine naturalistischere Dramatik. Dies zeigt sich sowohl in der Gruppe der Reiterfiguren als auch im landschaftlichen Hintergrund. Allein die beiden stark nach links bzw. nach rechts geneigten Felsen mit dem dazwischen hochwachsenden Baum, der, wie der linke größere Fels, das junge Christentum symbolisiert, zeigen diese neuere Stiltendenz. Dies ist bei Cranach d.J. vor allem nach seinem Weggang von Wittenberg nach Augsburg – nach der Absetzung des Kurfürsten Johann Friedrich – zu erkennen. Ludwig Meyer hat bereits Bezüge des vorliegenden Bildes zu dem 1549 entstandenen Werk „Predigt Johannes des Täufers“ (Braunschweig) sowie zum „Löbnitzer Epitaph“ von 1562 in Halle festgestellt. Das Gemälde befindet sich in tadellosem Zustand. A.R. Provenienz: Count Salemfels (ehemaliger Direktor des Museums Prag). P. M. Durand, (Tochter des Vorigen), Chateau de Chevron, Albertville, Savojen, Frankreich. Mme. M. Paten, Paris. Bei Duveen, New York 1960. Sotheby‘s, London, 09. Dezember 1981, Lot 45 (als Lucas Cranach d.J.). Anmerkung: Werkverzeichnis-Nr.: CC-BNT-490-003. Literatur zum Gemälde: R. Fabbri, Pictures on Exhibit, 1960, S. 8. H. La Farge, Art News, May 1960, S. 12. Weiterführende Literatur: Max J. Friedländer, Jakob Rosenberg, Die Gemälde von Lucas Cranach. Basel 1979, Nr. 433. Kurt Löcher, Die Gemälde des 16. Jahrhunderts. Germanisches Nationalmuseum Nürnberg, Stuttgart 1997, S. 164-166 mit älterer Literatur mit farb. Abb. Daniel Hess, Dagmar Hirschfelder, Hrsg., Renaissance. Barock. Aufklärung. Kunst und Kultur vom 16. bis zum 18. Jahrhundert, Die Schausammlungen des Germanischen Nationalmuseums, Bd 3, Nürnberg 2010, S. 107, 428, Abb. 75. Ausstellung: New York, Duveen, Paintings by Lucas Cranach, 1960. (12500212) (11) Lucas Cranach the Younger, 1515 – 1586 Wittenberg THE CONVERSION OF PAUL THE APOSTLE Oil on panel. Parquetted. 93.5 x 83 cm. According to the dating Lucas Cranach the Younger created a painting with the same subject in larger, broader format in 1549 held at the Germanisches Nationalmuseum in Nuremberg, measuring 115 x 167 cm (inv. no. Gm 226 on loan by the Bayerische Staatsgemälde-Sammlungen Munich – Alte Pinakothek). The painting on offer for sale in this lot has almost the same height as the Nuremberg paining, however, it is less wide. Both paintings show Saul, the onetime prosecutor of Christians as the main figure at the centre of the composition, having just been converted to the Christian faith by receiving a vision of god and thereby turning into Saint Paul. Various horse riders also reveal a more mature concept of composition of the artist. The crucial figural elements have been retained. There is a change in composition with regards to the armour-clad companion who can be seen in the Nuremberg painting hurrying in the foreground, while he is already next to Saul’s horse in the painting on offer for sale here. The position of Christ’s right arm in the clouds in the top left differs from the Nuremberg version and is almost identical with a depiction of Christ in the painting Allegory of Salvation dated 1545 (Leipzig, Museum für Bildende Künste). All the above mentioned observations and further details lead to the assumption that the painting on offer for sale here was painted after the Nuremberg version. Its composition and space have been condensed here in comparison with the Nuremberg painting, keeping almost the same height while deliberately compressing the scene with a reduction in width. Despite the missing signature, the notion of this being a copy can be ruled out on the grounds of the above mentioned observations alone. In comparison with the painting style of his father, Lucas Cranach the Elder, whose workshop he took over after his death, Lucas Cranach the Younger shows a more animated understanding of figures and more naturalistic dramatics, as can also be seen in the current painting, for example in the group of riders and the landscape background. This new trend in style can be seen in the rocks leaning deeply to the left and right and the tall tree in their midst, which symbolizes, like the larger rock on the left, emerging Christianity. In Cranach the Younger’s œuvre this is particularly evident after he left Wittenberg for Augsburg and the deposition of John Frederick I, Elector of Saxony. Ludwig Meyer already made early connections between our painting here and a work created in 1549 titled The Sermon of Saint John the Baptist (Braunschweig) and The Löbnitz Epitaph dating to 1562 in Halle. The painting is in excellent condition. Provenance: Count Salemfels (former director of the Museum in Prague). P. M. Durand, (daughter of the above), Chateau de Chevron, Albertville, Savoy, France. Madame M. Paten, Paris. At Duveen, New York, 1960. Sotheby’s, London, 9 December 1981, lot 45 (as Lucas Cranach the Younger). Most recently held in trust at George Economou Collection, Athens. Hampel Fine-Art-Auctions, March 2010, lot 190. Notes: Catalogue raisonné no.: CC-BNT-490-003. Literature regarding the painting: R Fabbri, Pictures on Exhibit, 1960, p. 8. H. La Farge, Art News, May 1960, p. 12. Further bibliography: M. Friedländer/ J. Rosenberg, Die Gemälde von Lucas Cranach, Basel 1979, no. 433. K. Löcher, Die Gemälde des 16. Jahrhunderts, Germanisches Nationalmuseum Nürnberg, Stuttgart 1997, pp. 164-166 with older bibliography, with colour ill. D. Hess and D. Hirschfelder (eds.), Renaissance. Barock. Aufklärung. Kunst und Kultur vom 16. bis zum 18. Jahrhundert. Die Schausammlungen des Germanischen Nationalmuseums, vol. 3 Nuremberg 2010, p. 107, 428, ill. 75. Exhibitions: New York, Duveen, Paintings by Lucas Cranach, 1960.
LUCAS CRANACH, THE ELDER Marcus Curtius Plunging into the Chasm. Woodcut, circa 1507. 333x239 mm; 13 1/8x9 3/8 inches, narrow to thread margins. Eagle watermark. A very good impression of this scarce woodcut. Bartsch 112; Hollstein 106.
Lucas Cranach, the Younger (Wittenberg 1515-1586 Weimar) The Virgin and Child with the Infant Saint John the Baptist and Angels signed with the artist's device of a serpent with wings folded (centre left, on the stone parapet) oil on panel 30 x 21 7/8 in. (76.3 x 55.5 cm.)
Xilografia. mm 338x235. Bartsch, 112. Hollstein, 106. Monogrammata nella tabella in basso a sinistra. Secondo Hollstein questo intaglio deriva da una plaquette, attribuita a Giovanni delle Opere o delle Corniole. Bellissima impressione su carta vergellata.
LUCAS CRANACH Christ before Herod. Woodcut, 1509. 245x166 mm; 9 3/4x6 1/2 inches. From the Passion. Trimmed on the border line. A very good, possibly early proof impression before the text verso, with strong contrasts and little to no wear. Bartsch 11. With--CHRISTOFFEL VAN SICHEM (after Dürer). The Four Horsemen, woodcut, circa 1600 * JOHANNES WIERICX. Orpheus Charming the Wild Animals, engraving, circa 1600. Various sizes and conditions.
Lucas Cranach the Younger (1515-1586)-manner, Portrait of a court lady in elegant dress and hat, by a window, with view to a town; oil on wooden panel, framed.
LUCAS CRANACH The Rest on the Flight into Egypt with Dancing Angels. Woodcut, circa 1510-15. 338x234 mm; 13 3/8x9 1/4 inches, thread margins. A superb, early impression of this exceedingly scarce woodcut, with little to no sign of wear. We have found only 5 other impressions at auction in the past 30 years. Bartsch 4.
LUCAS CRANACH The Temptation of St. Anthony. Woodcut, 1506. 401x277 mm; 15 7/8x11 inches, narrow to thread margins. Second state (of 2). Small bunch of grapes watermark with a vertical rectangle counter mark. A superb, well-inked, and early impression of this extremely scarce woodcut, before the wide gaps to the edges of the mountains to the right of the church in the background and before the widening of the vertical rectangle at the left edge of the black upper portion of the shield upper right, with the customary soft horizontal drying fold and with the relief from the woodblock still distinct on the verso. Bartsch 56.
Lucas Cranach (1515-1586), "St. Peter and Paul''s Day, Matt. 16, 3," and "St. John the Baptist''s Day, Luke 7, 57-60," 19th c., pair of block prints, after the 16th c. originals, presented in silver gilt frames, , H.- 5 1/2 in., W.- 6 3/4 in.
Lucas Cranach (1515-1586), "Parable of the Wedding Banquet," Matthew 22, 1-13, and "Jesus Heals the Paralytic," Matthew 9, 1-8, 19th c., after the 16th c. originals, presented in gilt shadowbox frames, H.- 5 1/2 in., W.- 6 3/4 in.
Lucas Cranach (1515-1586), "Parable of the Wedding Banquet," Matthew 22, 1-13, and "Jesus Heals the Paralytic," Matthew 9, 1-8, 19th c., after the 16th c. originals, framed, H.- 5 1/2 in., W.- 6 3/4 in.
LUCAS CRANACH The Holy Kinship. Woodcut, circa 1510. 229x328 mm; 9x13 inches. The letter W in a circle watermark. Trimmed on or just inside the border line, with portions of the border line preserved. A good, dark impression of this scarce, early woodcut. Bartsch 5.
LUCAS CRANACH DER JÜNGERE Wittenberg 1515 - 1586 Weimar Martin Luther, in ganzer Figur nach rechts. Holzschnitt 1548. B. (Cranach d. Ä.) 146 (by Cranach the Younger). Hollst. 34. Mit dem Signet (Schlange) im Stock. Verso mit weiterem Holzschnitt (S. Peter). 14,5 x 9,8 cm. Leicht angestaubt und fleckig sowie mit kleinen Randläsuren. Erschienen in „Hortulus animae”, Wittenberg, Georg Rhau (-Nachfolger), 1547-58. Sammlung Philipp Herrmann, Karlsruhe (Lugt 1352 a). [bg]
Sächsischer Fürst auf Eberjagd. Holzschnitt. 17,8 x 12,4 cm. cm. Um 1507. B. 118, Hollstein 113 II. Ausgezeichneter Druck mit der Einfassung an drei Seiten, oben minimal knapp in die Darstellung geschnitten. Minimale Randläsuren, oben kleine ergänzte Stelle am Rand mittig, dort etwas fleckig, verso eine Horizontalfalz oben, kleine diagonale Knickspur links verso, sonst insgesamt gut.
David und Abigail. Holzschnitt. 24,7 x 16,7 cm. 1509. B. 122, Dodgson 59,59a, Schuchardt 121, Hollstein 3. Wz. Krug mit einem Henkel und gekröntem Deckel (vgl. Briquet 12540, ca. 1520). Prachtvoller, klarer Druck bis an bzw. auf die Einfassung geschnitten. Nur geringfügige Gebrauchsspuren, die Einfassungslinie vereinzelt und sorgsam mit der Feder ergänzt und geschlossen, kleine Papierunebenheit oben rechts, unten links zarte Knitterspur, verso kleine Bleistiftannotationen sowie winzige Montierungsrückstände, sonst ingesamt in tadelloser und ganz vorzüglicher Erhaltung. Von großer Seltenheit. Aus den Sammlungen Karl Eduard von Liphart (Lugt 1687, Nr. 398 in dessen Versteigerung bei C.G. Boerner, Leipzig, im Dezember 1876, dort beschrieben als "schöner Druck, sehr selten"), Adalbert Freiherr von Lanna (Lugt 2773, vgl. H. G. Gutekunst, Stuttgart, Mai 1909, Nr. 1305, dort als "brillanter Abdruck" geführt) sowie Emil Spira (siehe Lugt 2306a).
Lucas Cranach (1515-1586), "Sermon on the Mount, Matt. 5, 20-26," and "What do you think of Christ? Matt. 22, 34-46," 20th c., pair of block prints, after the 16th c. originals, framed, H.- 5 1/4 in., W.- 6 3/8 in.
Lucas Cranach II (Wittenberg 1515-1586) Saint Paul signed with the artist's serpent device and dated '1547' (lower right) oil on panel 8 1/8 x 5 7/8 in. (20.7 x 14.9 cm.)
Workshop of Lucas Cranach I (Kronach 1515-1586 Weimar) Portrait of John the Steadfast, Elector of Saxony (1468-1532) with monogram (upper right) oil on panel 18.6 x 14.2 cm. inscribed 'IMMORTALE DVCVM DECVS HAC SVB IMAGINE LUCAS / PINXT IOANNEM SAXONI TERRA TIBI ? / SIC DE SE MERTO TVLIT HVNC RITESELLVS HONORE / HVIVS ID EXEMPLVM POSTERITATIS ERIT ?' (lower centre)
Lucas Cranach (1515-1586), "Sermon on the Mount, Matt. 5, 20-26," and "What do you think of Christ? Matt. 22, 34-46," 20th c., pair of block prints, after the 16th c. originals, framed, H.- 5 1/4 in., W.- 6 3/8 in.
Cranach, Lucas d. J. (1515 Wittenberg - Weimar 1586). "Philip Melanchthon". Ganze Figur, in der Linken eine Mütze, mit der Rechten ein Buch haltend. Oben re. Wappen. Buchholzschnitt 1561. Blgr. 27,5 x 15,1 cm. Bez. mit Schlange mit liegendem Flügel u. dat. Verso Text "An den Leser". - Oben re. kl. Einriss, Unten re. hinterl. Einriss, leichte Knitterspuren, etw. fleckig.
Lucas Cranach II (Wittenberg 1515-1586) Christ and the Woman Taken in Adultery signed (?) with the artist's serpent device (upper right); and inscribed 'WER VNTER EVCH ON SVNDE IST • DER WERFFE .DEN ERSTEN STEIN AVFF SIE • IOHANN: AM VIII:' (upper centre) oil on panel 18¾ x 28 7/8 in. (47.8 x 73.4 cm.)
CRANACH, LUCAS d. J. (WERKSTATT) (Wittenberg 1515 - 1586 Weimar) Schlafende Diana. Öl auf Holz. Signiert am Brunnen mit der geflügelten Schlange. 47,5 x 73 cm. Gutachten: Ludwig Meyer, 16.3.2011. Provenienz: - Sammlung Leontine Goldschmitt, Heidelberg. - Sammlung Oberbaurat Hampe, Heidelberg. - Rosenberg und Stiebel, New York. - Sammlung Heinz Kisters, Kreuzlingen. - Galerie Meissner, Zürich, 1963. - Schweizer Privatsammlung, 1969. - Auktion Fischer, Luzern, 1970, Los 324 (als Lucas Cranach d. Ä.). - Deutsche Privatsammlung. Ausstellung: 'Meisterwerke der Malerei aus Privatsammlungen im Bodenseegebiet, Bregenz, Künstlerhaus, Palais Thurn und Taxis, 1.7. - 30.9.1965, Nr. 26, Abb.10. Literatur: Friedländer, Max und Rosenberg, Jakob: Les peintures de Lucas Cranach, 1978, Kat. Nr. 404, S. 155 (als Cranach d. J. und Werkstatt, nach 1537). Es sind mehrere Versionen dieser Komposition aus der Werkstatt Cranachs bekannt, das früheste Exemplar stammt von 1517 (Dresden), eine spätere Version in der Liverpool Royal Institution ist 1534 datiert. Rosenberg datiert diese Tafel von Cranach d. J. und dessen Werkstatt nach 1537, Ludwig Meyer geht von einer Entstehung um 1537/40 aus.
![Reformation.- Anonymous (active Nuremberg, circa 1557 or later). Follower of Lucas Cranach the Younger (1515-1586) The Great Nuremberg Reformation, woodcut, [c. 1557 but later].](https://stageimg.invaluable.com/housePhotos/Forum-Auctions/82/717082/H20198-L278768300.jpg)
