Though the artist responsible for this curious set of religious panels in the present and following lot remains undetermined, they certainly arose from a German hand around 1500. In handling and composition, they betray the influence of Albrecht Dürer, suggesting a possible execution by a Nuremberg artist in his circle or close following. Indeed, they share visual affinities with some signed woodcuts of one of Dürer’s Nuremberg pupils, Hans Springinklee (circa
1490-after 1527), particularly in the renderings of architecture and spatial construction as well as in figural types.1
The author of these panels seems also to be responsible for a panel depicting the Virgin nursing the Child and a kneeling donor
today in the Gumbertus Church in Ansbach.
1. See, for example, Springinklee's Virgin and Child with Saint Anne (New Hollstein, 6), Nativity (New Hollstein 271), and Virgin and Child With Angels (Hollstein 205).
2. An image of this painting is in the Marburg Photo Archive, no. 921.502.