Master of the Saint Florian Crucifixion Triptych

Friedrich Jacob Gsell (1812–71), Vienna;
His posthumous sale, Vienna, Georg Plach, 14 March 1872, lot 229d (as school of Michael Wolgemut);
Nicolaus von Scanavi, Vienna;
By whom gifted to the rectory of Altmünster, Upper Austria;
From whom bought by the Kunsthistorisches Museum, Vienna (inv. no. 6769), 1928;
Transferred to the Österreichische Galerie (Belvedere), Vienna (inv. no. 4977), 1953;
From whom acquired by Galerie Sanct Lucas, Vienna, December 1964;
Where acquired by the father of the present owner.

Vienna, Galerie Sanct Lucas, Gemälde alter Meister-Neuerwerbungen, Winter 1965–1966, no. 1 (as Master of the Saint Florian Crucifixion Triptych);
Wiener Neustadt, St. Peter an der Sperr, Ausstellung Friedrich III., 28 May – 30 October 1966, no. 244.

O. Pächt, Österreichische Tafelmalerei der Gotik, Vienna 1929, p. 73 (as the Master of the Braunau Bäckeraltar, dependent on the style of the Master of the Vienna Schottenstift, circa 1480);
O. Benesch, 'Der Meister des Krainburger Altars', in Wiener Jahrbuch für Kunstgeschichte, vol. VII, 1930, p. 189 (as Master of the Saint Florian Crucifixion Triptych);
Katalog der Gemäldegalerie. Kunsthistorisches Museum Wien, Vienna 1938, p. 107, cat. no. 1801 (as circle of the Master of the Vienna Schottenstift);
Thieme-Becker, Künstlerlexikon, vol. XXXVII, Leipzig 1950, p. 191 (as Master of the Saint Florian Crucifixion Triptych);
W. Buchowiecki, 'Geschichte der Malerei in Wien', in Geschichte der bildenden Kunst in Wien. Neue Reihe (Geschichte der Stadt Wien), vol. VII/2, Vienna 1955, p. 31 (as Master of the Saint Florian Crucifixion Triptych);
A. Stange, Deutsche Malerei der Gotik, Munich and Berlin 1961, vol. XI, p. 48 (as Master of the Saint Florian Crucifixion Triptych);
R. Feuchtmüller et al., Ausstellung Friedrich III., exh. cat., Vienna 1966, pp. 427–29, part of cat. no. 244 (as Master of the Saint Florian Crucifixion Triptych);
W. Buchowiecki, in Gotik in Österreich, exh. cat., Krems 1967, p. 75;
O. Benesch, 'Der Meister des Krainburger Altars', in Otto Benesch. Collected writings. German and Austrian art of the 15th and 16th centuries, E. Benesch (ed.), vol. III, London 1972, pp. 192 and 194, reproduced fig. 216 (as Master of the Saint Florian Crucifixion Triptych);
S. Krasa-Florian, 'Der Meister von Mondsee', in Das Mondseeland. Geschichte und Kultur, exh. cat., Linz 1981, p. 141;
G. Biedermann, Katalog Alte Galerie am Landesmuseum Joanneum: Mittelalterliche Kunst: Tafelwerke – Schreinaltäre – Skulpturen, Graz 1982, p. 124, under cat. no. 30 (as Master of the Saint Florian Crucifixion Triptych);
V. Birke et al., Die Kunstsammlungen des Augustiner-Chorherrenstiftes St. Florian, Vienna 1988, p. 179, under cat. no. 7 (as Master of the Saint Florian Crucifixion Triptych).

The cradled panel is flat. There is a small area of lifting paint at the extreme right margin just above centre. The paint surface is generally very well preserved, particularly throughout all the flesh tones and the lighter tones of the drapery and background. The darker folds of the virgin's dress and kneeling magus' red cloak have been retouched in several places, as have those of St Joseph, the central standing magus and the maroon sleeve of the right hand magus. The panting may benefit from a re-restoration in these areas but it would not be absolutely necessary given the painting's generally good and serene appearance. Sold with a parcel- gilt frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The Master of the Saint Florian Crucifixion Triptych is so-called after a small altarpiece in the abbey of Saint Florian, near Linz (a major centre of Austrian panel painting since the first half of the fourteenth century), the central panel of which is a Crucifixion with a view of the city of Vienna.¹ The Master is presumed to have spent time in the large and productive workshop of the Master of the Vienna Schottenstift, one of the most important Viennese painters in the second half of the fifteenth century, whose influence is strongly felt in this artist's work.

This panel is among the earliest works by the Crucifixion Master, probably dating to circa 1480, predating the Master's eponymous work. It once formed part of a series of The Life of the Virgin, of which eight extant panels have been identified. The gold backgrounds of The Annunciation (formerly also with Galerie Sanct Lucas, Vienna) and The Visitation (Saint Florian, Linz) are embossed with the same pattern, with variations, as found on the present painting.² Two other panels from the series, The Birth of the Virgin and The Death of the Virgin, were sold New York, Sotheby's, 27 January 2011, lots 100 and 101, for $110,000 and $230,000, respectively.³

1. See Stange 1961, p. 47, reproduced fig. 94.
2. See Stange 1961, p. 48, reproduced figs 96 and 97.
3. The other three panels are: The Presentation of Mary in the Temple (also Saint Florian, Linz); The Nativity (Private collection, Vienna); and The Coronation of the Virgin (Landesmuseum Joanneum, Graz). See Feuchtmüller et al. 1966, for a proposed formation of the panels on the wings of an altarpiece, which places the present work on the lower half of the open right-hand wing.