- Museum number
Judas bargaining with the High Priest, with two prophets above and two below; High Priest at centre, Judas sitting at left leaning forward, three attendants standing nearby, two windows behind and a pillar either side, the half-length figures of two prophets above and two below amongst blank scrolls
Pen and black ink, with black and grey wash, and red chalk
- Production date
Height: 304 millimetres
Width: 205 millimetres
- Curator's comments
- Rowlands 1993
LITERATURE: W. Hugelshofer, OMD, viii, 1934, p. 5; Old Master Drawings from the Collection of Mr C. R. Rudolf, Arts Council exhib. cat., London, 1962, pp. 29f, under no. 155; E. von Borries, Baden-Württemberg Jahrbuch, xvii, 1980, pp. 216-8; BM Dürer and Holbein, p. 194, no. 167, repr.
Another drawing in the same medium by the same hand and of a similar type, of ‘David and Nathan’, is in the Kunsthalle, Karlsruhe (inv. no. 1979-7). This also at one time belonged to Campbell Dodgson, who had acquired it from the Earl of Sussex. He exchanged it with Colnaghi in 1946. These two drawings, together with that of ‘Christ expelling the money-changers from the Temple’, in Darmstadt (Hessisches Landesmuseum, inv. no. AE 319; Basel, Holbein, pl. 111), have been attributed to Sigmund Holbein on the basis of a speculative identification of this artist with the Master of the Nuremberg Apostles, so named after a series of paintings formerly in the Germanisches Nationalmuseum, Nuremberg; two further paintings from the series are in the Catholic Pfarrkirche, Rödelheim. The decorative elements in the Karlsruhe drawing, especially the putti, are close to those in a design for a heraldic glass-painting in the Fogg Museum, Cambridge, Mass. (inv. no. 1932.376). This drawing, with the spurious inscription, “1519 HH“, was regarded by Ganz as a contemporary copy recording a lost drawing by Hans Holbein the Younger of the period 1519-21 (Ganz, pp. 98f, no. c.55), which had also been worked over by a later hand. This drawing is now claimed to be by Hans Holbein the Younger himself (‘Old Master Drawings: Selections from the Charles A. Loeser Bequest’, Fogg Art Museum, Cambridge, edited by K. Oberhuber, 1979, p. 100, no. 44, repr.). Ganz later attributed the work in brown ink and wash to Holbein but gave that in black ink and coloured wash to another hand, a view shared by A. Mongan and P. Sachs (‘Drawings in the Fogg Museum of Art’, Cambridge, 1940, i, pp. 195f, no. 387, repr.). Even so, the design both in invention and execution is so far below the resources of Hans Holbein the Younger in this field as to make the attribution quite untenable.
- Not on display
- Exhibition history
1988, July-Oct, BM, Age of Dürer & Holbein, no. 167
- Acquisition date
- Acquisition notes
- According to Dodgson's inventory card, purchased by him from G.Nebehay in 1926?, after the acquisition of the companion drawing in 1913 from Sabin.
- Prints and Drawings
- Registration number