(Dresden 1555–1606)
The Virgin and Child in a river landscape,
oil on copper, 36 x 26 cm, framed

Rainer Stüwe attributes the present work to the Dresden court painter Zacharias Wehme on the basis of a high-resolution photograph and dates the painting from around 1590–1600. A written certificate, dated 9 March 2023, is available.

The present composition is based on the copper engraving Madonna and Child with the Monkey by Albrecht Dürer (Bartsch 42, Meder 30). Stüwe writes: ‘In all of its modifications in terms of motif as opposed to the model provided by Dürer, the present realisation of the subject on copper complies with another panel attributed to the Prague court painter Daniel Fröschl from the period around 1590/1600 (sale, Van Ham, Cologne, 12 April 2003, lot 1209)’. Stüwe continues: ‘However, the copper panel presented here clearly differs from that by Daniel Fröschl in its stylistic approach. The colours are earthier, and the outlines and head types are distinctly less graceful. Attention should be paid to the folds of the drapery, which are strongly influenced by models from German painting around 1500–1510, yet without making direct reference to Dürer’s authoritative copper engraving. It is thus a free interpretation of drapery from the age of Dürer that is noticeably different from the panel by Fröschl that served as a model here. The master who executed the panel under discussion presents himself as extraordinarily versed in the translation of a model from one stylistic language into another. In this context, a further characteristic difference between Fröschl’s panel and the present picture is remarkable: In Fröschl’s composition, the posts of the fence are much wider apart and therefore not very realistic. In the present panel, this detail has been interpreted much more realistically, as the gaps between the posts are smaller.’

The differences of the present composition in terms of the colours and level of realism reveal that this master is stylistically much closer to the models of German painting of the early sixteenth-century, which he probably knew in the original and in detail. Fröschl’s model was thus modified in a way that presents the style of the Dürer Renaissance in an ideal-typical manner: Dürer’s model, which has been improved regarding the richness of motifs, has also been adapted here to Dürer’s example stylistically.

Within the closer circle of masters active around 1600 who were capable of painting in the style of the Dürer Renaissance on the level of the present composition, who stands out most of all is the Saxon court painter Zacharias Wehme. Only few works by the hand of this master are known to research to date. However, they are characterised by an extraordinary quality in the stylistic imitation of works by both Cranach and Dürer. In the sporadic publications of late nineteenth-century literature, Wehme, immediately after he had left Cranach’s workshop, is mentioned as a portraitist at the Saxon court (appointed court painter in 1605). There he painted portraits of the prince electors and members of the court.