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DOI Artikel:Dobrzeniecki, Tadeusz: A Gothic relief with the Adoration of the Magi: a discovered model of some Gothic copies
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18862#0083
2. London, Victoria and Albert Museum, the round ivory relief, Upper Rhenish, diameter
5,7 cm18
3. Uppsala, the round relief in the mother-of-pearl on the obverse of the wing of the case,
diameter 5,7 cm19
4. Formerly Figdor Collection, Vienna, well-preserved relief in papier mache, Upper Rhenish,
29 X 22 cm20
5. Coburg, the drawing of the Rhenish Master, 18,5x7,2 cm21
6. Nuremberg, Germanisches Museum, the wooden relief on the wing of the retable, Saxon-
-Turingian, 50x37 cm22
7. Frankfort, Licbieghaus, the relief in terracotta, hand-modelled, acquired in Strasbourg23
8. Calcar, former Piel Collection, the wooden relief from the wing of the retable21
9. Munieh, Bayerisches Nationalmuseum, three-dimensional group in wood, from Senkendorf
(Oberpfalz), height 85 cm25
10. Perting, the cemetery chapel, the wooden relief from the Upper Bavaria, after 1500,
112x128 cm26
11. Munich, Bohler Collection, the wooden relief27
12. Brandenburg, the Church of St. Catherine, the wooden relief on the wing of the retable
in the main altar, dated 1474, probably Saxon-Turingian28
13. Hannover, Provinzialmuseum, the wooden relief of co 150029
II. The group of four relief in stucco with the scenę of the Nativity, executed probably after
the wooden relief:
1. Sigmaringen, Furstliche Sammlung30: the relief supposedly comes from Messkirch, described
as a work executed in the region of Colmar at the end of the XVth century, showing close
connection with the engravings of Master E.S. — L. 20 and 21 (the landscape, the type
and attitude of the Virgin), L.22 and 23 (the Angels and the Child laying on the mantle
of Mary). In the figurę of St. Joseph the motifs from Schongauer's engravings are repeated.
2. Berlin, Deutsches Museum, a slightly worse exemplar acąuired in Italy31
3. Munich, Bohler Collection32
4. Baden-Baden, the Lichtenthal Monastery, repetition of the composition of the archetype
with some changes and simplification as well as different background33.
18. Alfred William Hearngift Collection; Huth, „Ein verlorener...", op. cit., fig. 1.
19. Hessig, op. cit.. Hainhofcrscher Kunstsehrank, West German work.
20. Hessig, op. cit.. pl. 531).
21. This attribution is proposed by Fr. Winkler, Skizzenbucher eines unbekannten (rheinischen) Meisters um 1500. Wallraf-
-Riohartz-Jahrbuoh N.F., Bd. I., 1930, p. 125; Hessig, op. cit., pl. 53c.
22. Cf. footnote 8; the connection of this relief with the carved and painted retable in Erfurt was ascertaiued by L. Fischel,
,,Studien in der altdeutschen Abteilung der Badischen Kunsthalle. I. Neues iiber den Meister des Erfurter Rcgler-Altars",
Oberrheinische Kunst, VI, 1934, p. 17.
23. Wilm, op. cit., pl. 8; Hessig, op. cii., pl. 52c.
24. dimensions: 100x91 cm: Auktionskatalog Wertheim-Bangel, Berlin, 1929 No 121, I quote after Hessig, op. cit.
25. Cf. footnote 8: Hessig, op. cit, pl. 54s.
26. Kun5tdenkmiiler des Reg.-Bezirks Oberbayem. Bd. I, Tcil. 1, 1895. p. 588.
27. Munich, Katalog Ausstellung Julius Bohler. Gemalde alter Meister, Plastiken, Kunstgewerbe 1966 (this publication was
inaccessible to the author).
28. Hessig, op. cit., pl. 100, 102.
29. It comes from Assel, Oldenburg, from the workshop of St George's Altarpiece, Zwischenahn; Hessig, op. cii., pl. 54b.
30. F. A. Lehner, Verzeichnis der Schnitzwerke; 1871 No 79; Hessig, op. cit., pl. 51a.
31. Demmler, Die Bildwerke, op. cit., No 7983; Hessig. op. cit., pl. 511).
32. Schmitt. Oberrheinische Plastik, op. cit., pl. 29.
33. This representation is known also in painting sec e.g. the retable from St Elizabeth's Church in Wrocław, E. Lutze, ,,Der
Meister des Wolfgangsaltars in der Lorenzkircbe zu Nurnberg urid seiu-KTeis", Anzeiger des. Germ. ISationalmuseums, Jahrg.
1935/33, p. 28, pl. 15.
73
5,7 cm18
3. Uppsala, the round relief in the mother-of-pearl on the obverse of the wing of the case,
diameter 5,7 cm19
4. Formerly Figdor Collection, Vienna, well-preserved relief in papier mache, Upper Rhenish,
29 X 22 cm20
5. Coburg, the drawing of the Rhenish Master, 18,5x7,2 cm21
6. Nuremberg, Germanisches Museum, the wooden relief on the wing of the retable, Saxon-
-Turingian, 50x37 cm22
7. Frankfort, Licbieghaus, the relief in terracotta, hand-modelled, acquired in Strasbourg23
8. Calcar, former Piel Collection, the wooden relief from the wing of the retable21
9. Munieh, Bayerisches Nationalmuseum, three-dimensional group in wood, from Senkendorf
(Oberpfalz), height 85 cm25
10. Perting, the cemetery chapel, the wooden relief from the Upper Bavaria, after 1500,
112x128 cm26
11. Munich, Bohler Collection, the wooden relief27
12. Brandenburg, the Church of St. Catherine, the wooden relief on the wing of the retable
in the main altar, dated 1474, probably Saxon-Turingian28
13. Hannover, Provinzialmuseum, the wooden relief of co 150029
II. The group of four relief in stucco with the scenę of the Nativity, executed probably after
the wooden relief:
1. Sigmaringen, Furstliche Sammlung30: the relief supposedly comes from Messkirch, described
as a work executed in the region of Colmar at the end of the XVth century, showing close
connection with the engravings of Master E.S. — L. 20 and 21 (the landscape, the type
and attitude of the Virgin), L.22 and 23 (the Angels and the Child laying on the mantle
of Mary). In the figurę of St. Joseph the motifs from Schongauer's engravings are repeated.
2. Berlin, Deutsches Museum, a slightly worse exemplar acąuired in Italy31
3. Munich, Bohler Collection32
4. Baden-Baden, the Lichtenthal Monastery, repetition of the composition of the archetype
with some changes and simplification as well as different background33.
18. Alfred William Hearngift Collection; Huth, „Ein verlorener...", op. cit., fig. 1.
19. Hessig, op. cit.. Hainhofcrscher Kunstsehrank, West German work.
20. Hessig, op. cit.. pl. 531).
21. This attribution is proposed by Fr. Winkler, Skizzenbucher eines unbekannten (rheinischen) Meisters um 1500. Wallraf-
-Riohartz-Jahrbuoh N.F., Bd. I., 1930, p. 125; Hessig, op. cit., pl. 53c.
22. Cf. footnote 8; the connection of this relief with the carved and painted retable in Erfurt was ascertaiued by L. Fischel,
,,Studien in der altdeutschen Abteilung der Badischen Kunsthalle. I. Neues iiber den Meister des Erfurter Rcgler-Altars",
Oberrheinische Kunst, VI, 1934, p. 17.
23. Wilm, op. cit., pl. 8; Hessig, op. cii., pl. 52c.
24. dimensions: 100x91 cm: Auktionskatalog Wertheim-Bangel, Berlin, 1929 No 121, I quote after Hessig, op. cit.
25. Cf. footnote 8: Hessig, op. cit, pl. 54s.
26. Kun5tdenkmiiler des Reg.-Bezirks Oberbayem. Bd. I, Tcil. 1, 1895. p. 588.
27. Munich, Katalog Ausstellung Julius Bohler. Gemalde alter Meister, Plastiken, Kunstgewerbe 1966 (this publication was
inaccessible to the author).
28. Hessig, op. cit., pl. 100, 102.
29. It comes from Assel, Oldenburg, from the workshop of St George's Altarpiece, Zwischenahn; Hessig, op. cii., pl. 54b.
30. F. A. Lehner, Verzeichnis der Schnitzwerke; 1871 No 79; Hessig, op. cit., pl. 51a.
31. Demmler, Die Bildwerke, op. cit., No 7983; Hessig. op. cit., pl. 511).
32. Schmitt. Oberrheinische Plastik, op. cit., pl. 29.
33. This representation is known also in painting sec e.g. the retable from St Elizabeth's Church in Wrocław, E. Lutze, ,,Der
Meister des Wolfgangsaltars in der Lorenzkircbe zu Nurnberg urid seiu-KTeis", Anzeiger des. Germ. ISationalmuseums, Jahrg.
1935/33, p. 28, pl. 15.
73