- Museum number
St Dorothy with the Christ child; the saint whole-length standing to front, with long, loose curling hair, holding up the hem of her skirt in her left hand, a basket in her right hand, with a small child holding on to the base of it. 1508
Pen and black and brown ink
- Production date
- 1467-1470 (circa)
Height: 208 millimetres
Width: 133 millimetres
- Curator's comments
- Summary from 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. 23:
'This drawing was described by Dodgson (in his personal card index kept in the Department) as 'Anon. German (B.M. Master)', but this draughtsman's usual style, to judge from the signed drawing of the 'Lovers' in Berlin (Kupferstichkabinett, KdZ. 1032) is quite different from that of the present drawing. The monogram "TG", formerly on this sheet cannot be connected with any known artist of the period. Winzinger considered it to be by the artist who executed the 'Massacre of the Innocents' in the Uffizi, Florence (inv. no. 2260 esp.), tentatively attributed to the Monogrammist B.M. by J. Byam Shaw as a possible early work ('OMD', no. 25, pp. I2f, pl. 18), an attribution rejected by Winzinger because of the distinctive difference between the style of the Uffizi drawing and that of the Berlin drawing mentioned above. An unpublished pen drawing of St Mary Magdalene at Schloss Wolfegg (no. 13 in an album containing German Gothic drawings) does however, appear to be executed in the same hand as the present sheet.'
Additional information: Otto Benesch, who advised Arthur Feldmann in the formation of his drawings collection, considered it to be by an Austrian follower of Schongauer. Messling (2009) notes that Koreny associated this sheet, and the above-mentioned drawing at Schloss Wolfegg, with a drawing of St Mary Magdalene in Erlangen. The Erlangen drawing is dated 1467 and signed with the monogram AT on the verso. The characteristically doll-like features of the faces and treatment of the drapery on these three drawings, which are all in the same hand, are also seen in the saints in a small triptych painted about 1480 for the Starck family of Nuremberg (now in the Washington National Gallery of Art). Messling argues convincingly for a Nuremberg origin for this 'Monogrammist AT', the author of this group of drawings, who he connects with the workshop of the Master of the Stötteritzer altar. The date of 1508 on the BM drawing should not be used as reliable evidence in dating the St Dorothy, which was much more likely to have been made about 1467-70 at the same time as the related sheet in Erlangen.
Lit from Rowlands 1993: Schönbrunner-Meder, xii, no. 1416; E. Buchner, Schwäbische Museum, Heft 6, 1925, pp. 180-1; O. Benesch, Monatsschrift für Kultur und Politik, i, Vienna, 1936, pp. 245-51 (reprinted in Collected Writings, iii, 1972, p. 394); Winzinger, Schongauer, p. 109, no. 103, repr.
Additional lit: G. Messling in 'Zeichnen vor Dürer: Die Zeichnungen des 14. und 15. Jahrhunderts in der Universitätsbibliothek Erlangen', Petersberg, 2009, pp.129ff. under no. 45, Abb.1
- Not on display
- Exhibition history
2019-2020 5 Jul-5 Jan, London, IWM, Culture Under Attack
- Acquisition date
- Acquisition notes
- This drawing was included in the collection of old master drawings belonging to Arthur Feldmann, which was wrongfully seized by the Gestapo from his home in Brno on 15 March, 1939. It is one of four drawings that were claimed from the British Museum by Uri Peled on behalf of the heirs of Arthur Feldmann on 13 May 2002. The Trustees accepted the evidence for the claim on 27 July 2002, and following consideration of the case by the Spoliation Advisory Panel on 27 April 2006, the heirs received an ex gratia payment from the government in compensation for the loss of the drawings. The claimants wished for the drawings to remain in the British Museum, and it was agreed that display would carry an acknowledgement of the Feldmann provenance and the circumstances of the loss in 1939.
It is not known when between 1936 (when Benesch records the owner as Feldmann) and 1948 Dodgson acquired the drawing. The drawing was bought in at the Gilhofer and Ranschburg sale in 1934, when it was collected by Otto Feldmann (son of Arthur) (information supplied by Diane Michaels, and verified by Gilhofer and Ranschburg).
- Prints and Drawings
- Registration number