The Last Judgment
- 107
On loan from the Hoogendijk Collection, Rijksmuseum, Amsterdam, 1907-1910.
Lucas Cranach D. Ä. und Lucas Cranach D. J., Staatliche Museen, Berlin, April-June 1937, no. 41.
Anatomy and Art, William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, MO, May 8-June 5, 1960, no. 68.
Cornelis Hoogendijk (1866-1911), Amsterdam, by 1907-1911 [1];
By descent to Hoogendijk heirs, Amsterdam, 1911-May 14, 1912;
Their sale, Tableaux anciens dépendant des collections formées par M.-C. Hoogendijk de la Haye, Frederik Muller et Cie, Amsterdam, May 14, 1912, lot 18;
Musée van Stolk, Haarlem, The Netherlands, 1912-May 8, 1928;
Its sale, 300 Sculptures et Tableaux, Xe-XVIe siècles, Objets de vitrine – Art Textile, etc., Frederik Muller et Cie, Amsterdam, May 8, 1928, lot 379;
Possibly Johanna Grossmann-Kanoldt (1890-1940), Munich, by November 22, 1928 [2];
With Gottschewski-Schäffer Galleries, Berlin, by 1932;
Florenz Wigger (b. 1873), Garmisch-Partenkirchen, Germany, by 1932-at least June 1937;
Inherited by his wife, Karoline Wigger, Garmisch-Partenkirchen, Germany, by August 30, 1947 [3];
Purchased from Wigger by Peter Nathan, Zürich, on joint account with Schaeffer Galleries, New York, by September 1959-1960 [4];
Purchased from Schaeffer by The Nelson-Atkins Museum of Art, Kansas City, MO, 1960.
NOTES:
[1] The painting was on loan to the Rijksmuseum, Amsterdam, from 1907-1911 and is included in the 1911 Rijksmuseum collection catalogue. According to Dr. A van Schendel, Director of the Department of Paintings, Rijksmuseum, in a letter to Mr. H. Schaeffer, Schaeffer Galleries, June 22, 1959, Getty Research Institute, Los Angeles, Schaeffer Galleries Records, box 59, the painting was returned to the Hoogendijk heirs in 1911.
[2] The Grossmann-Kanoldt collection is listed in the painting’s provenance as published in Schaeffer Galleries, Schaeffer Galleries: Twenty-Fifth Anniversary, 1936-1961 (New York: Schaeffer Galleries, 1961), unpaginated, but no date of ownership is given. In a letter from Ludwig Burchard, art historian, to Johanna Grossmann-Kanoldt, Getty Research Institute, Los Angeles, Schaeffer Galleries Records, box 59, Burchard tells Grossmann-Kanoldt that the painting is a genuine work by Cranach and is in good condition.
[3] According to an unaddressed note from Karoline Wigger, August 30, 1947, Getty Research Institute, Los Angeles, Schaeffer Galleries Records, box 59, she had already sold the painting but it was still in her possession for safety reasons.
[4] According to Hanns Schaeffer, Schaeffer Galleries, in a letter to Peter Nathan, May 9, 1960, Getty Research Institute, Los Angeles, Schaeffer Galleries Records, box 117, Correspondence, Nathan and Schaeffer had joint ownership of the painting. According to Jakob Rosenberg, Professor Emeritus, Harvard University, in a letter to Ross Taggart, Senior Curator, May 29, 1973, NAMA curatorial files, Kate Schaeffer told Rosenberg that Hanns Schaeffer bought the painting back from its owner in Garmisch-Partenkirchen before selling it to NAMA.
Catalogue d’une belle et riche collection de tableaux, de grands maitres, délaissés par feu Mr. Louis-Joseph Terry, etc. (Brussels, 1834).
Catalogue des tableaux, miniatures, pastels, dessins encadrés, etc., du Musée de l'État à Amsterdam avec supplement (Amsterdam: Roeloffzen-Hübner and Van Santen, 1911).
Catalogue des sculptures, tableaux, tapis, etc., formant la collection d'objets d'art du Musée Van Stolk, Jansstraat 50 – Harlem (The Hague: Martinus Nijhoff, 1912), 77, (repro.).
Catalogue des tableaux anciens dépendant des collections formées par M.-C. Hoogendijk de la Haye (Amsterdam: Frederik Muller et Cie, 1912).
Musée van Stolk fondé à la Haye en 1902: 300 sculptures et tableaux Xe-XVIe siècles, objets de vitrine-art textile, etc. (Amsterdam: Frederik Muller and Cie, 1928).
Max J. Friedlander and Jakob Rosenberg, Die Gemälde von Lucas Cranach (Berlin, 1932), 47, (repro.).
Lucas Cranach D. Ä. und Lucas Cranach D. J.: Ausstellung im Deutschen Museum Berlin April-Juni 1937, exh. cat. (Berlin: Staatliche Museen, 1937), 42, 142, (repro.).
Gisela Spiekerkotter, "Die Darstellung des Weltgerichtes von 1500-1800 in Deutschland" (Düsseldorf: Nolte, 1939), 50.
O. Thulin, Cranach-Altäre der Reformation (Berlin, 1955), 51.
"Accessions of American and Canadian Museums, April-June, 1960," The Art Quarterly 23, no. 1 (Autumn 1960): 305, 307, (repro.).
“Anatomy and Art: May 8-June 5, 1960,” Bulletin (The Nelson Gallery and Atkins Museum) 3, no. 1, exh. cat. (1960): 22, 24, (repro.).
"Check List of Acquisitions 1960: European and American,” The Nelson Gallery and Atkins Museum Bulletin, v. 3, no. 3 (Spring 1961): 18.
Schaeffer Galleries: Twenty-fifth Anniversary, 1936-1961 (New York, 1961), (repro.).
Ross E. Taggart and George L. McKenna, eds., Handbook of the Collection in the William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, vol. 1, Art of the Occident, 5th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 101, 259, (repro.).
Craig Harbison, The Last Judgment in Sixteenth-Century Northern Europe: A Study of the Relation between Art and the Reformation (New York: Garland, 1976), 274..
Max J. Friedländer and Jakob Rosenberg, The Paintings of Lucas Cranach, rev. ed., trans. H. Norden and R. Taylor (1932; Ithaca, NY: Cornell University Press, 1978), 90, (repro.).
John D. Morse, Old Master Paintings in North America: Over 3000 Masterpieces by 50 Great Artists (New York: Abbeville Press, 1979), 84.
Gerd Unverfehrt, Hieronymus Bosch: Die Rezeption seiner Kunst im frühen 16. Jahrhundert (Berlin: Gebr. Mann Verlag, 1980), 94, 217, 278, (repro.).
Janey L. Levy, "Popular Culture and Early Lutheran Iconography in a Cranach Last Judgment," The Rutgers Art Review 6 (1985): 32-53, (repro.).
S. L. K. Wright, "A Close Examination of Two Cranach Paintings in the Nelson-Atkins Museum of Art: The Three Graces and The Last Judgment," (M.A. thesis, University of Missouri-Kansas City, 1989), 70-126.
Michael Churchman and Scott Erbes, High Ideals and Aspirations: The Nelson-Atkins Museum of Art 1933-1993 (Kansas City, MO: Nelson-Atkins Museum of Art, 1993), 86.
Roger Ward and Patricia.J. Fidler, eds., The Nelson-Atkins Museum of Art: A Handbook of the Collection (New York: Hudson Hills in association with Nelson-Atkins Museum of Art, 1993), 150, (repro.).
Sara M. Heil Swanborn, "Dürer, Cranach, and the Development of Lutheran Compositional Principles in the Early Reformation,” (M.A. thesis, University of Oregon, 1995), 66, 77, 122, (repro.).
Ingo Sandner, ed., Unsichtbare Meisterzeichnungen auf dem Malgrund, Cranach und seine Zeitgenossen, ed. I. Sandner (Regensburg, Germany: Schnell und Steiner, 1998), 309, 316, (repro.).
Burton L. Dunbar, The Collections of The Nelson-Atkins Museum of Art: German and Netherlandish Paintings, 1450-1600 (Kansas City, MO: Nelson-Atkins Museum of Art, 2005), 12, 20-21, 23, 29, 67-78, (repro.).
