(active in Innsbruck until 1770) Double page study sheet: The Crucifixion of Christ, The Nativity, pen and brown ink, on laid paper, 36 x 22,5 cm, browned, somewhat stained, framed, (Sch)

Provenance: Private Collection, Austria.

With a certificate by Dr. Johann Kronbichler, Brixen 14th April 2015.

The sheet which has drawings on both sides shows the crucified Christ on the recto slightly shifted off the center in the composition, his mother Mary who has sunk to ground and is supported by John and to the right of the cross Mary Magdalene, who is kneeling. The horizontal layout of the reverse shows the nativity with the Holy Family given in close-up with Jesus in the middle, flanked by Josef and Mary and with the head of the ox and heads of angels behind them.

Both drawings feature the same drawing style, which is dominated by powerful and dense hatchings in the areas of shade. A similar draftmanship can be found in the drawings of Josef Ignaz Mildorfer, of the early Kremser Schmidt and by Paul Troger.The present drawing cannot be ascribed convincingly to one of these artists. A series of drawings with a comparable handwriting are preserved in the Tiroler Landesmuseum Ferdinandeum in Innsbruck (Inv.-Nr. TBar476-531), several sheets are also in the Museum der bildenden Künste in Leipzig (Inv.-Nr. 4649, St. Benedikt in the wilderness), in the Germanisches Nationalmuseum in Nuremberg (Inv.-Nr. Hz 4122, glory of angels) and in the Dözesanmuseum in Brixen (Inv.-Nr. g/7 and g/8, St. Joseph of Leonissa and St. Felix of Cantalice). They are drawings by Josef Kremer (early 18th century 1772), a student of Paul Troger. Kremer was born in Innsbruck where he also died. After his years of formation in Italy, he went to Vienna and Lower Austria, where he got in contact with Paul Troger, who influenced his painting and drawing style.

Provenance: Private Collection, Austria.

With a certificate by Dr. Johann Kronbichler, Brixen 14th April 2015.

The sheet which has drawings on both sides shows the crucified Christ on the recto slightly shifted off the center in the composition, his mother Mary who has sunk to ground and is supported by John and to the right of the cross Mary Magdalene, who is kneeling. The horizontal layout of the reverse shows the nativity with the Holy Family given in close-up with Jesus in the middle, flanked by Josef and Mary and with the head of the ox and heads of angels behind them. Both drawings feature the same drawing style, which is dominated by powerful and dense hatchings in the areas of shade. A similar draftmanship can be found in the drawings of Josef Ignaz Mildorfer, of the early Kremser Schmidt and by Paul Troger.The present drawing cannot be ascribed convincingly to one of these artists. A series of drawings with a comparable handwriting are preserved in the Tiroler Landesmuseum Ferdinandeum in Innsbruck (Inv.-Nr. TBar476-531), several sheets are also in the Museum der bildenden Künste in Leipzig (Inv.-Nr. 4649, St. Benedikt in the wilderness), in the Germanisches Nationalmuseum in Nuremberg (Inv.-Nr. Hz 4122, glory of angels) and in the Dözesanmuseum in Brixen (Inv.-Nr. g/7 and g/8, St. Joseph of Leonissa and St. Felix of Cantalice). They are drawings by Josef Kremer (early 18th century 1772), a student of Paul Troger. Kremer was born in Innsbruck where he also died. After his years of formation in Italy, he went to Vienna and Lower Austria, where he got in contact with Paul Troger, who influenced his painting and drawing style.