- Museum number
March; a town with figures engaged in various activities, in the foreground a woodcutter chopping a tree, nearby a stout man wearing a fur-trimmed coat, another man climbing a ladder beyond at r, at left a woman carrying a basket on her head, with women on the steps of a building behind, circular
Pen and brown ink, with grey wash; squared for transfer
- Production date
- 1521 (circa)
Height: 243 millimetres
Width: 243 millimetres (circular)
- Curator's comments
- This design and 1929,0511.20 and 1899,0120.53 are connected with the series of glass-painting roundels of the months commissioned by a member of the Hoechstetter family of Augsburg (for details of this series, see B. Butts and L. Hendrix, 'Painting on Light', exh. cat. J.Paul Getty Museum and St Louis Art Museum, 2000-2001, pp.216-220). Julius Baum was the first to establish that they had been designed by Jörg Breu the Elder on the basis of the monograms on the design for November in Berlin (Kupferstichkabinett, KdZ. 4064) and on the glass-painting of October in the Maximiliansmuseum, Augsburg (Butts and Hendrix, no. 94). He was also aware of most of the surviving versions and copies of the designs, with the exception of those in the École des Beaux-Arts, Paris (see J. Baum, ‘Altschwäbische Kunst’, Augsburg 1923, pp. 110ff). Wegner, with the help of H. Bucheit, subsequently discovered that the series was ordered by Georg Hoechstetter (1479-1534), who in 1503 married Ursula Ehem, both of whose family arms appear on the left- and the right-hand sides respectively in the design of October, in the École des Beaux-Arts (Butts and Hendrix no. 93). The wife's decease on 21 May 1521 provides a ‘terminus ante quem’ for the date of the commission. This drawing and 1929,0511.20, unknown to Baum, were sold at Sotheby's as by Jörg Breu and were registered on entering the BM collection as 'probably copies'. The designs for July and December, now in Berlin (Kupferstichkabinett, KdZ. 12839 and 12840) came from the same French source as 1929,0511.19 and 1929,0511.20. These two BM drawings are done in the same hand as those in the École des Beaux-Arts, which is characterised by thick grey wash. and they are of a similar size. This group, while very close to the manner of Breu and considered by Wegner and Rowlands to be by him, is actuallyof a lesser quality than the drawings in Berlin and Vienna which are the finest of the Hoechstetter designs. It is more likely that they were copied from Breu's original drawings (which have not survived) probably in his workshop, for the purpose of recording the compositions.
Lit: W. Wegner, Zeitschr. f. Kunstgesch., xxii, 1959, pp. 1920; J. Rowlands, 'Drawings by German Artists and Artists from German-speaking regions of Europe in the Department of Prints and Drawings at the British Museum: the Fifteenth Century, and the Sixteenth Century by Artists born before 1530', London, BM Press, 1993, no.91; T.Falk, 'The Burlington Magazine', May 1995, p.325.
- Not on display
- Exhibition history
1999 Jul-Sep, London, National Gallery, 'Wertinger's Summer'
2007/8 Nov-Feb, London, National Gallery, 'German Renaissance Stained Glass'
- Previous owner
Previous owner/ex-collection: Carlos Savelli (Sale, Paris, Lair-Dubreuil, Giard, 1923, 22 December, part of lot 6 with 1929,0511.20)
Previous owner/ex-collection: Prof William Bateson (L.2604a; Acquired at sale, Sotheby, 1924, 9 July, lot 149, bt with one other (1929,0511.20), ‘Bateson £52’)
- Acquisition date
- Acquisition notes
- Collector's mark "JB"
- Prints and Drawings
- Registration number