Wolfgang Krodel

Anonymous sale, Cologne, Lempertz, 19 November 2005, lot 1087.

The secure support consists of three vertical panels joined to the reverse with a series of small vertical batons and a horizontal addition to the top of approx 5 cm. The farthest left join has loosened and, as seen in the catalogue illustration, all three joins can be detected by the naked eye. The paint surface is secure and appears to be in good condition under and old, dirty yellowed varnish. Inspection under UV light reveals some scattered minor retouchings along the aforementioned lines and some more substantial work in the darks of the background and his fur cape. The details of their faces and her dress appear largely untouched. Offered in a stained wood and gilt frame in good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Wolfgang Krodel was apprenticed to Lucas Cranach the Elder and worked in his studio for several years. He was one of Cranach's best students and his mature works, such as the 1543 Adam and Eve sold Vienna, Dorotheum, 24 April 2007, lot 463, have often been mistaken for those of his master. The vast majority of his known works are derived or copied from Cranach and the present work is no exception; Cranach painted numerous versions on this theme, the closest of which to Krodel's own rendition is probably that in the National Museum, Warsaw.¹ Krodel was widely patronised in Saxony and he eventually set up his own studio there, specifically in Schneeberg in the Ore mountains.

1. See M.J. Friedländer & J. Rosenberg, The Paintings of Lucas Cranach, London 1978, p. 126, cat. no. 289, reproduced.