Kreuztragung
c. 1490
on displayWe have 3 artworks by Master of the Hohenlandberg altarpiece online.
We have 1824 paintings online.
We have 1824 paintings online.
Stylistically, the two altar panels can be attributed to the leading workshop on Lake Constance around 1500, which is named after the altar painted for the Bishop of Constance, Hugo von Hohenlandenberg (Karlsruhe). The main master was formerly hypothetically identified with Matthäus Gutrecht, more recently by Konrad with Michael Haider (active 1479, †1516). The group around Maria was probably painted by another member of the workshop.
In: Kunsthaus Zürich. Gesamtkatalog der Gemälde und Skulpturen, Zürcher Kunstgesellschaft (ed.), edited by Christian Klemm, Franziska Lentzsch, Gian Casper Bott et al., Ostfildern, Hatje Cantz Verlag, 2007.
Also known as
Christ Carrying the Cross
Medium
Tempera on pinewood
Dimensions
image: 139 x 139 cm
Inventory number
1957/0007
Credit line
Kunsthaus Zürich, The Gottfried Keller Foundation, Federal Office of Culture, Berne, 1957
Signature
-
Inscriptions
verso auf dem Rahmen o. l. in Blau: A [oder H oder 4?] T E G E 25 [hs]; o. r. in Weiss: […]25 [?, hs]; auf dem Rückseitenparkett o. l. Etikette: 3909 [ms]; o. l. Etikette: Loan Exhibition of Works by Old Masters and Scottish National Portraits / Exhibitor’s Name: J. R. Haig, Esq. / Description of Painting: Christ bearing the Cross / Address where to be send back: Blairhill, Rumbling […]; o. l. KHZ-Etikette; verso o. r. Etikette: From Mrs Craufurd Blairhill Rumbling Bridge, The Ascent to Calvary by Wohlgemuth from the The Northwick Collection
Accession year
1957
Provenance
- Meister des Hohenlandenberger Altars (Künstler/-in), Werkstatt
- Verbleib unbekannt
- o.D. – 20.1.1859, John Rushout Northwick (*1770, +1859) (Sammler/-in)Aukt.-Kat. Phillips, London 1859ff., S. 12-21: Second day’s sale (Wednesday 27th day of July, 1859), darin: S. 20, Nrn. 186 und 189: hier als Werke von «Wohlgemuth».
- 20.1.1859 – 27.7.1859, Nachlass John Rushout Northwick, NachlassWie oben Fussnote 3.
- 26.7.1859 – 27.7.1859, Phillips (Auktion), London, Lots 186 und 189, Wohlgemuth zugeschriebenWie oben Fussnote 3; Angaben unter Getty Provenance Index: Sales Catalogs (Suche nach Wohlgemuth).
- spätestens ab 27.7.1859 – höchstens bis 23.1.1896, James Richard Haig (*1831 Edinburgh, +1896 Blairhill) (Sammler/-in), Blairhill, Rumbling Bridge, KaufGetty Provenance Index: Sales Catalogs, wie oben Fussnote 5: «Buyer(s): Haig, James Richard».
- wohl, 23.1.1896 – höchstens bis 20.9.1940, Alexander Price Haig (*1863 London, +1940 Perth), Blairhill, Rumbling Bridge, Nachlass
- 20.9.1940 – 29.11.1950, Ellen Alexandra Craufurd (geb. Haig) (*1888, +1976), Blairhill, Rumbling Bridge, NachlassAuskunft von Sotheby’s per E-Mail, 15.02.2024 auf Basis eines annotierten Aukt.-Kat. von Sotheby`s, London (29.11.1950), Lot 138.
- 29.11.1950, Sotheby's (Auktion), London, Lot 138Wie oben Fussnote 8.
- 29.11.1950 – o.D., Arcade Gallery (Galerie), London, KaufWie oben Fussnote 8.
- [Verbleib unbekannt?]
- o.D. – 4.7.1956, Standish Vereker, 7th Viscount Gort (*1888 Sausthorpe, Lincolnshire, +1975) (Sammler/-in)Auskunft von Sotheby’s per E-Mail, 15.02.2024 auf Basis eines annotierten Aukt.-Kat. von Sotheby`s, London (04.07.1956), Lot 125.
- 4.7.1956, Sotheby's (Auktion), London, Lot 125Wie oben Fussnote 12.
- wohl, 4.7.1956 – o.D., D. A. Hoogendijk & Co (Kunsthandel), Amsterdam, KaufWie oben Fussnote 12.
- [Verbleib unbekannt?]
- o.D. – 1957, Kunsthandlung W. A. Hofer (Kunsthandel), MünchenProtokoll der Eidg. Kommission der Gottfried Keller-Stiftung, Protokoll Nr. 228 der Kommissionssitzung in Winterthur, 22./23.05.1957, S. 9: IV. Angebote.
- ab 1957, Gottfried Keller-Stiftung (Sammlung), Bundesamt für Kultur, Bern, KaufWie oben Fussnote 16.
- ab 1957, Zürcher Kunstgesellschaft | Kunsthaus Zürich (Museum), Zürich, LeihgabeZKG/KHZ Inventarbuch Slg.
Provenance category
not looted art
Provenance category (FOC)
A – The provenance for the period from 1933 to 1945 can be reconstructed. This is not a case of Nazi-looted art.
Literature (provenance)
- Catalogue of the late Lord Northwick's extensive and magnificent collection of ancient and modern pictures, cabinet of miniatures and enamels, and other choice works of art, and the furniture, plate, wines and effects, at Thirlestane House, Cheltenham, which will be sold by auction by Mr. Phillips, at the mansion on Tuesday the 26th of July, 1859, and twenty-one subsequent days …, https://archive.org/details/catalogueoflatel00nortrich/page/20/mode/2up (31. July 2024), S. 20, Nrn. 186 und 189.
About the provenance
The two altar panels with the motifs of Christ Carrying the Cross and the Crucifixion are today ascribed to the workshop of the Master of the Hohenlandenberg Altarpiece, and entered the Kunsthaus Zürich in 1957 on loan from the Gottfried Keller Foundation, which had acquired them that same year from the Munich art dealer Walter Andreas Hofer. They had been owned by private collectors in Scotland and England since at least the 19th century. They were not put up for auction at Sotheby’s until the 1950s, and left the UK in 1956, travelling via Amsterdam to Munich. Walter Andreas Hofer was involved in trading Nazi-looted art, but records show that the panels did not come into his possession prior to 1956. Their provenance between 1933 and 1945 has therefore been clarified, and they cannot have been confiscated as a result of Nazi persecution.
State of research 30.09.2024
Do you have questions, criticism, suggestions, and further information? Please send us a message to provenienzforschung(at)kunsthaus.ch.
Literature (general)
- Kunsthaus Zürich. Gesamtkatalog der Gemälde und Skulpturen, hrsg. von Zürcher Kunstgesellschaft et al., Sammlungskatalog, Ostfildern: Hatje Cantz, 2007, S. 26.
- Bernd Konrad: «Die Werkstatt des Karlsruher "Hohenlandenberg-Altars"», in: Die Fürstenbergsammlungen Donaueschingen: altdeutsche und schweizerische Malerei des 15. und 16. Jahrhunderts, hrsg. von Claus Grimm/Bernd Konrad, Sammlungskatalog, München: Prestel, 1990, S. 45-54.
- Alfred Stange: Kritisches Verzeichnis der deutschen Tafelbilder von Dürer, Bd. 2 von 3, München: Bruckmann, 1970, No. 259 f, g, S. 65 f..
- Hans A. Lüthy: «Zur Werkstatt des Meisters des Hohenlandenberger Altars», in: Jahresbericht des Schweizerischen Instituts für Kunstwissenschaft, Zürich: SIK-ISEA, 1964, S. 115-122.
Object type
Classification