Ludwig Schongauer (Augsburg circa 1440-1494) The Arrest of Christ; The Burial of Christ
Lot 17
Ludwig Schongauer
(Augsburg circa 1440-1494)
The Arrest of Christ; The Burial of Christ
£ 18,000 - 25,000
US$ 23,000 - 32,000

Amended
Lot Details
Ludwig Schongauer (Augsburg circa 1440-1494) The Arrest of Christ; The Burial of Christ
Ludwig Schongauer (Augsburg circa 1440-1494)
The Arrest of Christ; The Burial of Christ
oil on panel, double-sided
36.2 x 20cm (14 1/4 x 7 7/8in).

Footnotes

  • Provenance
    Sale, Christie's, London, 10 December 2003, lot 41

    Since its acquisition in December 2003, when it was newly discovered, the present panel has been identified as being part of the same altarpiece as two panels now in the Metropolitan Museum of Art, New York, depicting Christ before Pilate and The Resurrection (acq. No. 1982, 60. 34 a & b; see fig. 1).

    Although Christian Heck in The Dictionary of Art (New York, 1996, p. 154) had rejected the longstanding attribution of the Metropolitan Museum's panels to Ludwig Schongauer, stating that they are probably by a follower of Martin Schongauer, the current consensus has restored their traditional attribution. In 1996 Fritz Koreny favoured the attribution to Ludwig Schongauer citing similarities to drawings and prints attributed to him (Fritz Koreny, 'Martin Schongauer as a Draftsman: A Reassessment.' Master Drawings, 34 (Summer 1996), p. 145, figs. 39 (a), 40 (b). Anna Moraht-Fromm in Spätmittelalter am Oberrhein: Maler und Werkstätten: 1450–1525 (exh. cat., Staatliche Kunsthalle Karlsruhe, Stuttgart, 2001, pp. 36, 39 n. 45, figs. 9 (a), 10 (b)) states that the altarpiece comprising the Metropolitan panels and a further panel depicting Christ Carrying the Cross and the Flagellation of Christ (formerly in the collection of the Markgrafen und Grossherzöge von Baden, Schloss Salem and sold Sotheby's, Baden-Baden, October 10, 1995, no. 2278) come from a monastery in Salem. He believes this altarpiece to be similar in type and function to one in the Historisches Museum Basel, Barfüsserkirche (no. 201; Upper Rhine [?] Workshop, 1484) and to the 'Schongaueraltärchen' in the Ulm cathedral (no. 199; Follower of Martin Schongauer, about 1480–1500).

    Most recently, Ludwig Meyer proposes a reconstruction of the altarpiece to which these panels belonged, calling it a small domestic altarpiece and attributes it to Ludwig Schongauer. He suggests that this comprised a carved Crucifixion as the centrepiece, flanked by four double-sided panels. The lost panel was at the upper left and depicted Christ on the Mount of Olives (wings closed) and Ecce Homo (wings open). Below this panel was the Flagellation (closed) and Christ Carrying the Cross (open). At the upper right was the Arrest of Christ (closed) and the Entombment (open). Below this was Christ before Pilate (closed) and the Resurrection (open). He dates the altarpiece to 1479–86, when the artist was in Ulm and relates it to the 'Schongaueraltärchen' in Ulm cathedral (Reconstruction, July 29, 2003, pp. 1–3).

Saleroom notices

  • Please note the following additional literature: M. Wynn Ainsworth and Joshua P. Waterman, German paintings in the Metropolitan Museum of Art, 1350-1600, Yale University Press, circa 2013, cat. no. 51 a and b, pp. 219-223.
Activities
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