Overview

No overview.

Inscription

across bottom on engaged frame: Gleich in gemeldtem iar ach ich, do liess ich Conterfeten mich (decorative element) 1527 (decorative element) / Und ward Octobris sechtzehn tag Alt sechsundzwaintzg iar wie ich sag (decorative element) (In the same year I too had myself portrayed. 1527. And it was the sixteenth day of October. I was twenty-six, as I say.); on ring of sitter's forefinger: (initials RH and the Roth family coat-of-arms: on dexter, a unicorn rampant; on sinister, two bars sable on argent)

Marks and Labels

null

Provenance

Probably Hans Roth [d. 14 March 1573] and Margarethe Vöhlin [d. 5 July 1582], Memmingen, Augsburg, and Ulm.[1] Manoli Mandelbaum, Berlin; (Julius Böhler, Munich), in January 1922; (Paul Cassirer, Berlin); purchased March 1922 by Ralph Harman [1873-1931] and Mary Batterman [d. 1951] Booth, Grosse Pointe, Michigan;[2] gift 1947 to NGA.

Exhibition History

1923
Ralph H. Booth Loan Collection, Detroit Institute of Arts, 1923, no cat.
1926
The Third Loan Exhibition of Old Masters. The Detroit Institiute of Arts, (Catalogue of a Loan Exhibition from Detroit Private Collections.), 1926, no. 19.
1927
The Fifth Loan Exhibition of Old and Modern Masters, The Detroit Institute of Arts, 1927, no. 26.
1933
A Century of Progress, The Art Institute of Chicago, 1933, no. 32a.
1939
Masterpieces of Art. European Paintings and Sculpture from 1300-1800, New York World's Fair, 1939, no. 363.
2011
Dürer-Cranach-Holbein. Die Entdeckung des Menschen: Das deutsche Porträt um 1500, Kunsthistorisches Museum, Vienna; Kunsthalle der Hypo-Kulturstiftung, Munich, 2011-2012, no. 168, repro. (shown only in Munich).

Bibliography

1923
Valentiner, Wilhelm R. "Ralph H. Booth Loan Collection." Bulletin of the Detroit Institute of Arts 4 (1923): 51-52, repro. 54.
1924
Poland, Reginald. "Art in Detroit Homes." Art and Archaeology 17 (1924): 111, repro.
1925
Parker, Karl Theodor and Walter Hugelshofer. "Bernhardin Strigel als Zeichner." Belvedere 8 (1925): 33, n. 4, fig. 5.
1926
Götz, O., Georg Swarzenski, and A. Wolters. Ausstellung von Meisterwerken alter Malerei aus Privatbesitz. Exh. cat. Staedelsches Kunstinstitut, Frankfurt, 1926: 70, under no. 201.
1929
Mayer, August L. "Bernhard Strigel als Porträtmaler." Pantheon 3 (1929): 1, repro.
1933
"A Century of Progress Exhibit List." Art News 31 (27 May 1933): 4.
1934
Hugelshofer, Walter. "Ein signiertes Bildnis von Bernhard Strigel." Pantheon 14 (1934): 306.
1934
Stange, Alfred. Deutsche Malerei der Gotik. 11 vols. Berlin and Munich, 1934-1961. Munich, 1957: 8:150.
1936
Kuhn, Charles L. A Catalogue of German Paintings of the Middle Ages and Renaissance in American Collections. Cambridge, Mass., 1936: 63, no. 258, pl. 52.
1948
Frankfurter, Alfred M. "Booth: hand-picking the Renaissance." Art News 47 (March 1948): 37, repro.
1948
Recent Additions to the Ralph and Mary Booth Collection. Washington, 1948: unpaginated, repro.
1949
"Ralph and Mary Booth Bequest in der National Gallery of Art, Washington." Phoebus 2, no. 2 (1949): 71, repro.
1950
"Old Masters in America: Important Gifts to the National Gallery, Washington" The Illustrated London News (September 16, 1950): 449, repro.
1959
Rettich, Edeltraud. "Bernhard Strigel, Ergänzungen und Berichtigungen zu: Alfred Stange 'Deutsche Malerei der Gotik, VIII. Band, Schwaben'." Zeitschrift für Kunstgeschichte 22 (1959): 167.
1963
Walker, John. National Gallery of Art, Washington, D.C.. New York, 1963 (reprinted 1964 in French, German, and Spanish): 305, repro.
1964
Otto, Gertrud. Bernhard Strigel. Munich and Berlin, 1964: 81, 106-107, no. 87, repro. 78-79 (color), figs. 154-155.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 125
1967
Stange, Alfred. Kritisches Verzeichnis der deutschen Tafelbilder vor Dürer. 3 vols. Munich, 1970: 2:221, no. 966.
1968
European Paintings and Sculpture: Illustrations (Companion to the Summary Catalogue, 1965). Washington, 1968: 112, no. 899, repro.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 332, repro. 333.
1975
Walker, John. National Gallery of Art, Washington. New York, 1975: 155, nos. 168-171, repro. 154.
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 155, no. 164, color repro.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 382, repro.
1990
Dülberg, Angelica. Privatporträts--Geschichte und Ikonologie einer Gattung im 15. und 16. Jahrhundert. Berlin, 1990: 23, 127, 208-209, nos. 114-115, figs. 467-470.
1993
Hand, John Oliver, with the assistance of Sally E. Mansfield. German Paintings of the Fifteenth through Seventeenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, 1993: 167-173, color repro. 169 (repro. of reverse 171).
1995
Löcher, Kurt. Review of German Paintings of the Fifteenth through Seventeenth Centuries, by John Oliver Hand with the assistance of Sally E. Mansfield. Kunstchronik 43 no. 1 (January 1995): 19.
2004
Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 139, no. 107, color repro.
2004
Kranz, Annette. Christoph Amberger - Bildnismaler zu Augsburg. Regenburg, 2004: 391, repro.

Conservation Notes

The examination was conducted without disengaging the panel from the frame. The support is a single piece of wood with vertically oriented grain. The frame is made of poplar wood.[1] The white ground terminates in a barbe along all four edges of the panel. Along the left, right, and bottom sides wooden strips are nailed to the outer edge of the frame. Examination with infrared reflectography revealed fine outlines of the sitter's eyes and nose, but it was not clear whether this was underdrawing or part of the paint layer. Also visible in the sitter's hand is the blocked-in shape of an early design stage. There is a vertical check at the left edge of the panel. Retouching is scattered throughout the panel but is concentrated in the sitter's face. The right corner has been cleaned more thoroughly than the rest of the panel.


[1] The wood was identified by the National Gallery's scientific research department.

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