Kreuzigung
c. 1490
on displayWe have 3 artworks by Master of the Hohenlandberg altarpiece online.
We have 1824 paintings online.
We have 1824 paintings online.
Also known as
Crucifixion
Medium
Tempera on pinewood
Dimensions
image: 139 x 139 cm
Inventory number
1957/0008
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 T EGE 25 [hs]; o. r. in Weiss: [unleserlich] [hs]; auf dem Rückseitenparkett o. l. Etikette: 3873 [hs]; o. l. KHZ-Etikette
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 189Wie oben Fussnote 3.
- 27.7.1859 – höchstens bis 23.1.1896, James Richard Haig (*1831 Edinburgh, +1896 Blairhill) (Sammler/-in), Blairhill, Rumbling Bridge, KaufAngaben unter Getty Provenance Index: Sales Catalogs (Suche nach Wohlgemuth): «Buyer(s): Haig, James Richard».
- wohl, 23.1.1896 – 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 per E-Mail von Sotheby’s, 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), 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.
Object type
Classification