- Museum number
Christ before his Crucifixion, seated on the Cross, from an album chiefly containing designs for glass-paintings; Christ seated on a platform at centre, his head resting on his right hand, looking, soldiers and men on horseback behind, the three Maries (?) standing at l, one holding up a shroud bearing an image of Christ, to the left of them a man pouring from a vessel, with tongue poking out, behind men prepare crosses on a hill, at left a town with tall tower and fields
Pen and black ink, with grey wash, on orange prepared paper
- Production date
Height: 269 millimetres
Width: 325 millimetres
- Curator's comments
- Upper Rhineland, early XVI century.
Inscribed either by Fairholme or a contemporary in grey ink, on the backing in the volume, "Albert Durer 1520" (subsequently deleted). Attributed by Popham(?) in a pencil annotation to the "Swiss School c.1510-20 (copy!)".
Possibly by Baldung, see T. Falk, 'Burlington Magazine', May, 1995, p.325.
This is almost certainly a copy of a painting now lost which, to judge from the view in its background of Strassburg, was executed either in that city or for a patron living there. The location is clearly identifiable from the distinctive appearance of the great tower on the western façade of the cathedral.
The depiction of the seated Christ within the Calvary scene, as in this drawing, or as an isolated seated figure awaiting his crucifixion, had a fairly wide currency both in painting and in carved figures in the late fifteenth and early sixteenth centuries north of the Alps. It is worth noting that Hans Holbein the Younger executed early in his career in Basel perhaps now the best-known representation of the period, seen in the drawing in Berlin-Dahlem 'Christ seated on the Cross’ dated 1519 (Kupferstichkabinett, KdZ. 14729; Ganz, p. 97, no. 466, repr.). The same type of sorrowing Christ occurs in this drawing and 1899,0120.33: neither depict Christ as the Man of Sorrows, as in that case Christ would have to be shown with the marks of the Passion upon his Body.
It has not proved possible either to locate the painting with which 1899,0120.33 could be associated, or positively to identify the artist who could have painted it. While the stocky physique of the figures recalls those seen in the woodcut illustrations by Hans Wechtlin of c. 1506, in the Leben Christi in Benedictus Chelidonius' ‘Passio Iesu Christi . . . cum figuris I. Vuechtelin’ (J. Knoblouch, Strassburg), there is no painting by Wechtlin known, nor is there any painting by a contemporary working in or around Strassburg which can be even tentatively linked with 1899,0120.33. For instance, an examination of the paintings by or attributed to Nikolaus Kremer (c. 1500-53) and to Wilhelm Stetter (c. 1490-1552), both of whom worked in Strassburg, does not suggest that either could be considered as a possible candidate.
- Not on display
- Acquisition date
- Acquisition notes
- For further details on the provenance of the album, see 1899,0120.1.
- Prints and Drawings
- Registration number