Description
Wolf Traut, um 1486 Nürnberg – 1520 NAVIGATION OF SAINT URSULA OF COLOGNE Oil on softwood. Parquetry. 61 x 78.5 cm. Gilt frame with waterstruck molding. Wolf Traut is one of the most important artists in the close circle around Albrecht Dürer, in whose workshop he worked. Like Dürer, he probably also studied under Michael Wolgemut. His name first appears in 1505 with his 13 woodcuts for Ulrich Pinder's "Der beschlossen Gart des Rosenkrantz Mariae", with further woodcuts by Hans von Kulmbach, Schäufelein and Baldung Grien. In 1502 he created the altarpiece for St. Lawrence in Nuremberg, another in the clothmakers' chapel of St. Anne, and in 1514 the Artelshofen altarpiece (Bavarian National Museum, Munich). The theme goes back to the legend that in the 4th century, the English king's daughter Ursula swore eternal virginity after her betrothal and, together with ten other virgins, undertook a voyage by ship to Rome. On the return journey around 451, she suffered martyrdom at the hands of the Huns in Cologne together with eleven thousand virgins. Finds confirm mass graves from this period dating back to the Hun Wars, which may explain the legend; a church in Cologne is dedicated to the saint. As always depicted in art, the nave is also shown here with densely packed young women. Ursula can be seen wearing a crown and in a praying posture. The Rhine runs calmly in the background, but foams up dangerously at the lower edge of the picture. Investigations have revealed pentimenti according to which the green hill in the distance was originally drawn higher. The first attribution to Wolf Traut as the author of the painting was made as early as 1960 by Ernst Buchner, then in 1990 in a letter from Peter Strieder to Bruno Bushard. The painting is considered to be contemporary with Traut's "Mary in the Circle of the Apostles" from 1515, around 1513. The painting is quoted in Thieme-Becker's three-page article: "1512 ad incorporandvm tabvlam XI millivm virginiem 45 fl. (Eleven thousand virgins or Ursular Altar),". 1513 Tabvla vrsulae p stat 45 fl.". The painting is treated and illustrated in the well-researched publication by Sabine Lata. A.R. Provenance: Formerly Georg Schäfer Collection. Galerie Fischer Lucerne, 19.07.1927. Galerie Fievez Brussels, 26.07.1930. Hôtel Drout Paris, 17.061931. De la Faille Amsterdam, 20-22.12.1932. Hôtel Drouot Paris, 30.11.1938. Galerie Charpentier Paris, 25.04.1951. Lempertz Cologne, 1954. Neumeister Munich, 12.12.1990. Neumeister Munich, 18.09.1991. Sotheby's London, 29.10.1998. Literature: Sabine Lata, Wolf Traut als Maler, Schriftenreihe des Staatsarchivs Nürnberg, vol. 63, cat. No. 21 d, p. 253 ff, p. 330, fig. 81, p. 530. Cf. Thieme-Becker, vol. 33/34, pp. 351-353 (1401731) (11) Wolf Traut, ca. 1486 Nuremberg - 1520 SEA VOYAGE OF SAINT URSULA OF COLOGNE Oil on softwood. Parquetted. 61 x 78.5 cm. Wolf Traut was one of the important artists in Albrecht Dürer's inner circle and active in his workshop. Like Dürer, he probably also trained with Michael Wolgemut. His name first appears in 1505. Wolf Traut was initially identified as the creator of the present painting in 1960 by Ernst Buchner. Then again in 1990 in a letter from Peter Strieder to Bruno Bushard. The painting is seen in connection with the date of origin of Traut's Maria im Kreis der Apostel [Mary in the Circle of the Apostles] from 1515, around 1513. The painting is discussed and illustrated in Sabine Lata's well-researched publication. Provenance: Formerly Georg Schäfer collection. Galerie Fischer Lucerne, 19.07.1927. Galerie Fievez Brussels, 26.07.1930. Hôtel Drout Paris, 17.06.1931. De la Faille Amsterdam, 20-22.12.1932. Hôtel Drouot Paris, 30.11.1938. Galerie Charpentier Paris, 25.04.1951. Lempertz Cologne, 1954. Neumeister Munich, 12.12.1990. Neumeister Munich, 18.09.1991. Sotheby's London, 29.10.1998. Literature: Sabine Lata, Wolf Traut als Maler, Schriftenreihe pp. 253, 330, ill. 81, p. 530. cf. Thieme-Becker, vol. 33/34, pp. 351-353.
178
Wolf Traut, um 1486 Nürnberg – 1520 NAVIGATION OF SAINT URSULA OF COLOGNE Oil on softwood. Parquetry. 61 x 78.5 cm. Gilt frame with waterstruck molding. Wolf Traut is one of the most important artists in the close circle around Albrecht Dürer, in whose workshop he worked. Like Dürer, he probably also studied under Michael Wolgemut. His name first appears in 1505 with his 13 woodcuts for Ulrich Pinder's "Der beschlossen Gart des Rosenkrantz Mariae", with further woodcuts by Hans von Kulmbach, Schäufelein and Baldung Grien. In 1502 he created the altarpiece for St. Lawrence in Nuremberg, another in the clothmakers' chapel of St. Anne, and in 1514 the Artelshofen altarpiece (Bavarian National Museum, Munich). The theme goes back to the legend that in the 4th century, the English king's daughter Ursula swore eternal virginity after her betrothal and, together with ten other virgins, undertook a voyage by ship to Rome. On the return journey around 451, she suffered martyrdom at the hands of the Huns in Cologne together with eleven thousand virgins. Finds confirm mass graves from this period dating back to the Hun Wars, which may explain the legend; a church in Cologne is dedicated to the saint. As always depicted in art, the nave is also shown here with densely packed young women. Ursula can be seen wearing a crown and in a praying posture. The Rhine runs calmly in the background, but foams up dangerously at the lower edge of the picture. Investigations have revealed pentimenti according to which the green hill in the distance was originally drawn higher. The first attribution to Wolf Traut as the author of the painting was made as early as 1960 by Ernst Buchner, then in 1990 in a letter from Peter Strieder to Bruno Bushard. The painting is considered to be contemporary with Traut's "Mary in the Circle of the Apostles" from 1515, around 1513. The painting is quoted in Thieme-Becker's three-page article: "1512 ad incorporandvm tabvlam XI millivm virginiem 45 fl. (Eleven thousand virgins or Ursular Altar),". 1513 Tabvla vrsulae p stat 45 fl.". The painting is treated and illustrated in the well-researched publication by Sabine Lata. A.R. Provenance: Formerly Georg Schäfer Collection. Galerie Fischer Lucerne, 19.07.1927. Galerie Fievez Brussels, 26.07.1930. Hôtel Drout Paris, 17.061931. De la Faille Amsterdam, 20-22.12.1932. Hôtel Drouot Paris, 30.11.1938. Galerie Charpentier Paris, 25.04.1951. Lempertz Cologne, 1954. Neumeister Munich, 12.12.1990. Neumeister Munich, 18.09.1991. Sotheby's London, 29.10.1998. Literature: Sabine Lata, Wolf Traut als Maler, Schriftenreihe des Staatsarchivs Nürnberg, vol. 63, cat. No. 21 d, p. 253 ff, p. 330, fig. 81, p. 530. Cf. Thieme-Becker, vol. 33/34, pp. 351-353 (1401731) (11) Wolf Traut, ca. 1486 Nuremberg - 1520 SEA VOYAGE OF SAINT URSULA OF COLOGNE Oil on softwood. Parquetted. 61 x 78.5 cm. Wolf Traut was one of the important artists in Albrecht Dürer's inner circle and active in his workshop. Like Dürer, he probably also trained with Michael Wolgemut. His name first appears in 1505. Wolf Traut was initially identified as the creator of the present painting in 1960 by Ernst Buchner. Then again in 1990 in a letter from Peter Strieder to Bruno Bushard. The painting is seen in connection with the date of origin of Traut's Maria im Kreis der Apostel [Mary in the Circle of the Apostles] from 1515, around 1513. The painting is discussed and illustrated in Sabine Lata's well-researched publication. Provenance: Formerly Georg Schäfer collection. Galerie Fischer Lucerne, 19.07.1927. Galerie Fievez Brussels, 26.07.1930. Hôtel Drout Paris, 17.06.1931. De la Faille Amsterdam, 20-22.12.1932. Hôtel Drouot Paris, 30.11.1938. Galerie Charpentier Paris, 25.04.1951. Lempertz Cologne, 1954. Neumeister Munich, 12.12.1990. Neumeister Munich, 18.09.1991. Sotheby's London, 29.10.1998. Literature: Sabine Lata, Wolf Traut als Maler, Schriftenreihe pp. 253, 330, ill. 81, p. 530. cf. Thieme-Becker, vol. 33/34, pp. 351-353.
You may also like
