- 188
* Lucas Cranach the Elder Kronach 1472-1553 Weimar
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Description
- Lucas, the elder Cranach
- Portrait of a Bearded Man Age Thirty-Five
- signed lower left with the artist's device of a dragon with folded wings and dated 1538; inscribed upper left ANNODO: M.D. XXXVIII / AETATI SVAE XXXV
oil on panel
Provenance
Possibly Wolf Martin Ehrmann von Falkenau, Linz, Austria;
Benedictine Abbey, Lambach, Austria, from the 18th Century to before 1918;
With Galerie Alte Kunst, Munich, before 1918;
Kleinberger;
By whom sold to Howard Young Galleries, New York, circa 1927;
By whom sold to Charles H. and Mary F. S. Worcester, Chicago, 1930;
By whom bequeathed to the Art Institute of Chicago in 1945.
Benedictine Abbey, Lambach, Austria, from the 18th Century to before 1918;
With Galerie Alte Kunst, Munich, before 1918;
Kleinberger;
By whom sold to Howard Young Galleries, New York, circa 1927;
By whom sold to Charles H. and Mary F. S. Worcester, Chicago, 1930;
By whom bequeathed to the Art Institute of Chicago in 1945.
Exhibited
Chicago, Art Institute of Chicago, on loan from 1930-1945.
Appleton, Wisconsin, Worcester Art Center, Exhibition of Old Masters, June 1-12, 1950.
Appleton, Wisconsin, Worcester Art Center, Exhibition of Old Masters, June 1-12, 1950.
Literature
A. Primisser, "Reisenachrichten über Denkmäler der Kunst und des Alterthums in den österreichischen Abteien," in Archiv für Geographie, Historie, Staat und Kriegskunst, 13 (1822), p. 362;
The Antiquarian, Vol. 14, No. 3, March 1930, p. 87, reproduced;
Apollo, XII, July 1930, pp. 44, 46, reproduced.
The Art News, 28, May 17, 1930, p. 21, reproduced;
C. Burrows, "Letter from New York," in Apollo, 12, July 1930, pp. 44, 46, reproduced;
The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, 1932, p. 191;
M. J. Friedländer and J. Rosenberg, Die Gemälde von Lucas Cranach, Berlin 1932, p. 91, no. 334a;
C. L. Kuhn, A Catalogue of the German Paintings of the Middle Ages and Renaissance in American Collections, Cambridge 1936, p. 44, no. 146, reproduced plate XXVI;
D. C. Rich, Catalogue of the Charles H. and Mary F.S. Worcester Collection of Paintings, Sculpture and Drawings, Chicago, 1938, p. 40, no. 35.
The Lawrentian, March 26, 1950, p. 4;
Appleton Post Crescent, May 31,1950;
"Die Kunstdenkmäler des Gerichtsbezirkes Lambach," in Österreichische Kunsttopographie, vol. 34, Vienna 1959, pp. 297-98, reproduced fig. 363;
Paintings in the Art Institute of Chicago, A Catalogue of the Picture Collection, 1961, p. 110.
M. J. Friedländer and J. Rosenberg, The Paintings of Lucas Cranach, London 1978, p. 53, no. 416, reproduced.
The Antiquarian, Vol. 14, No. 3, March 1930, p. 87, reproduced;
Apollo, XII, July 1930, pp. 44, 46, reproduced.
The Art News, 28, May 17, 1930, p. 21, reproduced;
C. Burrows, "Letter from New York," in Apollo, 12, July 1930, pp. 44, 46, reproduced;
The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, 1932, p. 191;
M. J. Friedländer and J. Rosenberg, Die Gemälde von Lucas Cranach, Berlin 1932, p. 91, no. 334a;
C. L. Kuhn, A Catalogue of the German Paintings of the Middle Ages and Renaissance in American Collections, Cambridge 1936, p. 44, no. 146, reproduced plate XXVI;
D. C. Rich, Catalogue of the Charles H. and Mary F.S. Worcester Collection of Paintings, Sculpture and Drawings, Chicago, 1938, p. 40, no. 35.
The Lawrentian, March 26, 1950, p. 4;
Appleton Post Crescent, May 31,1950;
"Die Kunstdenkmäler des Gerichtsbezirkes Lambach," in Österreichische Kunsttopographie, vol. 34, Vienna 1959, pp. 297-98, reproduced fig. 363;
Paintings in the Art Institute of Chicago, A Catalogue of the Picture Collection, 1961, p. 110.
M. J. Friedländer and J. Rosenberg, The Paintings of Lucas Cranach, London 1978, p. 53, no. 416, reproduced.
Catalogue Note
Friedländer and Rosenberg (see Literature below) group this portrait and several others from the same period under works by Cranach the Elder (cat. nos. 415 onwards). However, they state that because of the close working relationship between Cranach the Elder and his son, it is not always possible to distinguish definitely between the works of the father and those of the son. The present work, therefore, may have been painted by Lucas Cranach, the Elder with the help of his son Lucas Cranach the Younger.
According to the Art Institute's files, both August L. Mayer and Max. J. Friedländer, in separate letters dated September 22, 1926 and August 26, 1927 respectively, ascribed the present portrait to Lucas Cranach, the Elder.