Albrecht Dürer - Die Beweinung Christi
auction 390, Lot 544
Gemälde und Graphiken 15. – 20. Jh.
on 3 December 2020
Albrecht Dürer
Die Beweinung Christi
Differenzbesteuerung
Albrecht Dürer
1471 Nuremberg - 1528 ibid.
(follower of)
probably circa 1620
The Lamentation of Christ
Oil on panel. 151.5 x 116.8 cm. Cradling. Restored. Damaged. Minor damage to frame.
This painting is a varying copy after Albrecht Dürers epitaph of the Nuremberg Holzschuher family. The original of the Holzschuher lamentation is found in the German National Museum, Nuremberg (inv. no. Gm 165) today. Until 1566 it hung in the Holzschuherkapelle near St. Johannis and was then moved to St. Sebald. In 1620 it was acquired by Martin Peller and was highly valued in the Peller collection.
The ownership history of the original is of great importance for the present painting: When the original was sold to Martin Peller, a copy was made, which is believed to be the Lamentation of Christ that still hangs in St. Sebald today. Georg Gärtner the Younger is discussed as the artist.
A copy without the donor figures of the Holzschuher family was known to have been in private property for some time and it can be identified as this work.
Literature: Steinrahts, Felix J. F., Albrecht Dürers Memorialtafeln aus der Zeit um 1500. Holzschuher-Epitaph - Glimmsche Beweinung - Paumgartner-Altar. Rezeption, Forschungsstand und offene Fragen Frankfurt a. M. et al. 2000, pp. 27-35: about the present painting. - Fritschka, Anne, Die Urheberschaft und Datierung der Holzschuherschen Beweinung von Albrecht Dürer und ihr Bezug zur motivgleichen Tafel in Sankt Sebald, in: Großmann, G. Ulrich, Buchmalerei der Dürerzeit (= Dürer-Forschungen 2). Nuremberg 2009, pp. 259-274: discussion of the artist who executed the painting in St. Sebald. - Löcher, Kurt (red.), Die Gemälde des 16. Jahrhunderts. Germanisches Nationalmuseum Nürnberg. Ostfildern-Ruit 1997, p. 192-197: about the epitaph of the Holzschuher family.
Research report of the Doerner Institute, Munich, 14 January 1977 available: The origin of the painting is assumed with the utmost probability in or before the 17th century.
Provenance: private collection, South Germany.
