Overview

No overview available.

Inscription

probably by later hand, upper left in monogram: AD; probably by later hand, upper right: 1507

Marks and Labels

null

Provenance

Supposedly purchased in Germany, c. 1750, by Pehr von Lagerbring [d. 1799], Sweden; sold to David Henric Hildebrand [d. 1791], Castle Ericsberg, Katrineholm, by 1770 or 1771; by descent to his son, David Gotthard Henric Hildebrand [d. 1808]; his grandson, Carl Carlsson Bonde, Castle Ericsberg, as part of the "Fideikommiss;" by descent to Carl Gotthard Carlsson Bonde, Castle Ericsberg. (Galerie Matthiesen, Berlin, 1927).[1] (P. & D. Colnaghi and Co., London and New York, 1927); (M. Knoedler & Co., New York, 1928, owned jointly with Galerie Matthiesen and P. & D. Colnaghi and Co.);[2] purchased 1928 by Andrew W. Mellon, Pittsburgh and Washington, D.C.; deeded 30 March 1932 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh; gift 19937 to NGA.

Exhibition History

Bibliography

1907
Buchner, Ernst. "Schäufelein, Hans Leonhard." In Thieme-Becker. 37 vols. Leipzig, 1907-1950. 29(1935):558-559.
1917
Strömbom, Sixten Georg Mauritz. Portraitsamlingen: Ericsbergs Fideikommiss.Stockholm, 1917: 21, no. 32.
1927
Buchner, Ernst. "Der junge Schäufelein als Maler und Zeichner." In Festschrift für Max J. Friedländer zum 60. Geburtstage. Leipzig, 1927: 72.
1928
Buchner, Ernst. "Hans von Kulmbach als Bildnismaler." Pantheon 1 (1928): 135.
1928
Winkler, Friedrich. Dürer: Des Meisters Gemälde, Kupferstiche und Holzschnitte. (Klassiker der Kunst 4) Berlin and Leipzig, 1928: 414, repro. 45.
1929
Wallach, Hellmuth. Die Stilentwickelung Hans Leonhard Schäufeleins. Munich, 1929(?): 41.
1930
Valentiner, Wilhelm R., ed. Unknown Masterpieces in Public and Private Collections. London, 1930: n.p., pl. 63, as by Dürer.
1932
Tietze, Hans. "Dürer in Amerika." Anzeiger des Germanischen Nationalmuseums 45-46 (1932-1933): 101-104, figs. 66-67.
1933
Tietze, Hans. "Dürer in America." The Art Bulletin 15 (1933): 268, fig. 24.
1936
Kuhn, Charles L. A Catalogue of German Paintings of the Middle Ages and Renaissance in American Collections. Cambridge, Mass., 1936: 54, no. 201, pl. 36.
1937
"Mellon Offers Nation $19,000,000 Collection of Old Masters." The Art Digest 11 (15 January 1937): 8, repro. 7.
1937
Tietze, Hans, and Erika Tietze-Conrat. Kritisches Verzeichnis der Werke Albrecht Dürers. 3 vols. Basel and Lepzig, 1938: 2:81, no. A202, repro. 219.
1941
Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 61, no. 66, as by Albrecht Dürer (?).
1942
Book of Illustrations. National Gallery of Art, Washington, 1942: 240, repro. 37, as by Albrecht Dürer (?).
1942
Winkler, Friedrich. Die Zeichnungen Hans Süss von Kulmbachs und Hans Leonhard Schäufeleins. Berlin, 1942: 114, 118.
1943
Panofsky, Erwin. Albrecht Dürer . 2 vols. Princeton, (1943): 2:19, no. 98.
1949
Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 62, repro., as by Dürer.
1949
Roggeveen, L.J. "De National Gallery of Art te Washington." Phoenix 4 (1949): 340.
1957
Winkler, Friedrich. Albrect Dürer. Leben und Werk. Berlin, 1957: 191, n. 2.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 46, as by Albrecht Dürer (?).
1967
Löcher, Kurt. "Nürnberger Bildnisse nach 1520." Kunstgeschichtliche Studien für Kurt Bauch zum 70. Geburtstag von seinen Schülern. Munich, 1967: 115.
1968
European Paintings and Sculpture: Illustrations (Companion to the Summary Catalogue, 1965). Washington, 1968: 39, no. 66, repro., as by Albrecht Dürer (?).
1968
Zampa, Giorgio and Angela Ottino della Chiesa. L'opera completa di Dürer. Milan, 1968: 106, no. 126, repro.
1973
Oehler, Lisa. "Das Dürermonogramm auf Werken der Dürerschule." Städel-Jahrbuch N.F. 4 (1973): 43, fig. 12 (given to Hans von Kulmbach).
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 322, repro. 323.
1975
Walker, John. National Gallery of Art, Washington. New York, 1975: 155, no. 173, repro.
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 155, no. 167, color repro.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 369, repro.
1986
Löcher, K. "Painting in Nuremberg" and "H.S. von Kulmbach, Portrait of a Young Man." In Gothic and Renaissance Art in Nuremberg, 1300-1550. Exh. cat. The Metropolitan Museum of Art, New York; Germanisches Nationalmuseum, Nuremberg. New York and Munich, 1986: 86, 350, repro. 84.
1990
Löcher, Kurt. "Zu den frühen Nürnberger Bildnissen Hans Schäufeleins." Hans Schäufelein. Vorträge, ... des Nördlinger Symposiums im Rahmen der 7. ... der Zeit vom 14-15. Mai 1988. Nordlingen, 1990: 107-110, repro. 106.
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: 160-165, color repro. 163.
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): 18.
2002
Metzger, Christof. Hans Schäufelin als Maler. Berlin, 2002:537-539, no. X-13, repro.
2011
Fiedler, Susanne, and Torsten Knuth. "Vexierbilder einer Biographie: Dr. Heinz Mansfeld (1899-1959)." Mecklenburgische Jahrbücher 126 (2011): 300.

Technical Summary

The support is a single piece of linden with vertically oriented grain.[1] The original panel, which was probably thinned, has been marouflaged to a secondary panel and cradled. Examination with infrared reflectography did not disclose underdrawing. The original ground and paint layers do not extend to the extreme edges, although a thin nonoriginal layer and brown overpaint[2] have been applied to the edges.

Examinations in 1973 and 1988 yielded very little hard information about the monogram and date. Both appear to lie directly on the paint surface without an intervening layer, and both have been on the painting long enough to develop the crackle pattern of the black paint underneath. X-ray fluorescence indicated the similarity of the paints, but this cannot be taken as an indication of whether or not the date and monogram were executed at the same time.

The painting is generally in good condition. There are several long vertical checks in the panel. Along the checks and in the face of the sitter there are scattered paint losses that have been filled and inpainted.


[1] The wood was identified by Peter Klein, examination report, 29 September 1987, in NGA curatorial files.
\r[2] Examination of the brown paint under x-ray fluorescence indicated the presence of cadmium and zinc, suggesting that the paint was manufactured in the nineteenth or twentieth century.

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