List of works of art in the Grunewald hunting lodge

View into the room with Cranach's Passion Cycle

The collection of works of art in the Grunewald hunting lodge in Berlin consists primarily of 46 works by Lucas Cranach the Elder , the Younger , his workshop and their surroundings. In addition to portraits of the former rulers from the Hohenzollern family , it also contains religious-Christian, ancient-mythical and motifs designed by the artists themselves. Other important works include the Cadolzburg Altar as well as exhibits on stately hunting and handicraft objects. A large part of the pictures came from the possession of the Hohenzollern family, some of the representative panels, such as the Exemplum panels on the virtues of the rulers, were part of the furnishings of the Berlin Palace or, like the series of panel paintings for the Passion of Christ, of the former Cölln collegiate church . Since 2011, the exhibition with restored works has been accessible in a new presentation, which is divided into three areas:

• Ground floor with handicraft exhibits from the subject area of ​​hunting, animal preparations, as well as some paintings
• First floor with the collection of some very well-known paintings from the Cranach workshop and their artistic environment
• Second floor with ruler portraits of Hohenzollern, made by different artists, the part from the former Hohenzollern Museum in Berlin Schloss Monbijou come

List of exhibits and works of art

ground floor

ground floor
No.	Work / illustration	Artist	object	year	Technology, material, dimensions	Provenance , curatorial information
Entrance door of the castle			Relief with two deer hooked in the antlers		Sandstone	The relief depicts the legend after Elector Joachim II of Brandenburg saw the two hooked stags at this point and decided that the castle should be built here.
Anteroom of the castle		Hans Schenck , also Hideous or Scheutzlich called	Zecherrelief The rhymed inscription reads: Casper Theys was sal di small Flas Di Concz Bvntschv ghot in di Tas Diser wilkvm mvs zv vor hfravs Svnst wvrt such a Lerman travs	around 1537/1542	Sandstone, with traces of a colored paint	According to the only partially preserved inscription, two participants in the happy drinking round are the two master builders of the Berlin palace and the hunting lodge Cunz Buntschuh and Caspar Theiss , the figure in the middle could be Joachim II; the relief probably came to the hunting lodge in the baroque period ; however, the identity of the characters has not been completely clarified; Helmut Börsch-Supan suspects Schenk's self-portrait in the middle figure; the art historian Andreas Cante, however, sees a portrait of Caspar Theiss in the figure in the middle; the relief could have been on the Cölln Castle, on the house of Theiss or, until it was demolished in 1607, on the stonemason's hut on the castle building site.
001		Lucas Cranach the Younger	Elector Joachim II of Brandenburg	around 1570	Oil painting on linden wood 112.2 × 88 cm	Presumably in the Potsdam City Palace since 1699 , verifiably in the Berlin Palace since 1793 .
002		Johann Christof Merck	Deer with sixty-six-ended antlers	around 1700		Elector Friedrich III shot this unusual 66ender . 1696 and gained great fame as a hunter. See also description number 24
003		Wilhelm Barth	Grunewald hunting lodge	1832	Oil painting on canvas 101.5 × 142.3 cm	Castle bathed in autumn light, which has been used more by the royal family again since 1826
Showcase		Hans Mörl (?)	Over and under shotgun with double wheel lock	Nuremberg around 1555		Double- barreled shotgun ; the sides of the butt show a deer hunt; on the back of the flask is an Old Testament biblical depiction of Jonah being spat out again by the whale, which is a symbol of the resurrection of Christ; was owned by Prince Carl of Prussia since the 19th century .
Showcase					Wood	The model shows the ensemble of buildings and the hunting lodge at the time of its construction as a moated castle; the water level of the Grunewaldsee was lowered several times from 1800, mainly to supply Berlin with water, so that the moat and drawbridge were removed.
Large court room			stack	1903	Edging made of sandstone	Kaiser Wilhelm II had the hunting lodge modernized, this fireplace was built in, tiled stoves in other rooms , toilets and baths.
004th		Unknown ironworks from the northern Eifel	Oven plates	1542	cast iron	Four oven plates , which were originally the side parts of a box oven that stood in the Great Court Room in the 16th century; later they were apparently used for an open fireplace. The upper plate was discovered by Hofhanrat Kavel and probably represents the killing of a roebuck with unusually strong antlers by Joachim II.
005		Adolph Schroedter	Hunting party of Prince Friedrich of Prussia	1835		Humorous, genre-like depiction of a hunting scene with Prince Friedrich of Prussia .
006th		Eduard Grawert	Hubertus hunt in Grunewald under Friedrich Wilhelm IV.	1857	Oil painting on canvas 81.5 × 122.3 cm	The picture is not a representation of a real hunt, but is a homage to King Friedrich Wilhelm IV, who was seriously ill in 1857.
007th		Carl Johann Arnold Hermann Snow	Arrival of Kaiser Wilhelm I for the red hunt in the Grunewald	1887		This picture probably shows the start of the Red Hunt in November 1886; The landscape and architecture come from Schnee (1840–1926), the figures with the portrayed faces by Arnold (1829–1916).
008th		Eduard Grawert	Field Marshal General Wrangel as a Red Hunter	around 1850		As Governor of Berlin and Field Marshal General Friedrich von Wrangel enjoyed the privilege of not having to wear a red coat when riding a hunt; He is shown wearing a Scottish plaid over a black skirt.
009		Carl Steffeck	Prince Carl of Prussia as a red hunter on horseback	around 1858		Carl von Prussia, a passionate hunter and collector of hunting weapons, reintroduced the parforce hunt in the Grunewald, which had been displaced by drag hunts , and ordered this picture from Steffeck, which he had hung in the hunting lodge in 1860.
Room 1			Antler furniture	Early 20th century		Stools, armchairs and other pieces of antler furniture have been in aristocratic hunting castles since 1825; like the display of hunting trophies, they became fashionable in the middle class in the middle of the 19th century. Corresponding furniture was produced in series by several companies and was used to overburden so-called hunting salons ; this antler furniture was not part of the original equipment of the Grunewald hunting lodge.
Room 1			Candlestick women	Late 17th century (?)		A crowned upper body of a woman, carved from wood and painted, with two scaled fish tails is mounted on two antlers and thus forms a five-lamp candlestick; These candlesticks, also known as female lustres , have been known since the Renaissance ; and Albrecht Dürer designed such lighting fixtures.
Showcase		Royal Porcelain Manufactory Berlin	Déjeuner with representations of hunting locks	around 1900	Soft painting on porcelain	the shapes of these breakfast dishes go back to the 18th century; painting, however, corresponds to the taste of the time around 1900; the Hohenzollern hunting castles Rominten (on the tray), Letzlingen and Königs Wusterhausen on the teapot and on the sugar bowl Hubertusstock and Grunewald are shown; the originals of the animal pictures ( copper engravings ) come from Johann Elias Ridinger .
010		Abraham Jansz. Begey	Elector Friedrich III. on the hunt on the Havel	before 1697		Begeyn had been a court painter since 1688 and in this picture depicts a hunt with Friedrich on wild boars that could have taken place near the Pfaueninsel ; Elector Friedrich III, who later became King Friedrich I of Prussia , was an avid hunter; the lead dog of the pack bears the monogram CF for Elector Friedrich on its collar .
011		Johann Christof Merck	Ulmer mastiff	1705	Oil painting on canvas 127.2 × 154.5 cm	The dog shown, a so-called Ulmer Mastiff , belonged to King Friedrich I's pack; the animal wears the royal crown and the monogram FR (for Fredericus Rex ) on the collar ; the painting has been in the hunting lodge since 1860.
Showcase		Glassworks Potsdam / Zechlin	Cup depicting a pig hunt / goblet depicting a deer hunt	around 1735	Crystal glass	In Brandenburg, glass art flourished through Johannes Kunckel from 1678; on the Sauhatz Cup, hunters in uniform are shown, as was customary in the time of Friedrich Wilhelm I ; the stag hunt cup uses a painting by Dismar Degen , which was in Königs Wusterhausen Castle , as a motif ; it depicts a par force hunt at the Stern Hunting Lodge ; King Friedrich Wilhelm I can be recognized by the breast star of the Order of the Black Eagle .
Room corner			Oven made of green tiles	1903	Stove tiles	Wilhelm II had the castle modernized in 1903, which also included the equipment with such tiled stoves set as basic stoves to heat the living spaces.
012		Unknown artist	Fox and Sauprellen	around 1720		The bouncing of foxes, and in this case also of wild boars, was torturous amusement for the rulers at festivals until the 18th century; King Friedrich Wilhelm I also let the bouncing take place on a lapped area.
013		probably Flanders	Atalante and Meleager	around 1690	tapestry	Such knitted carpets can be found in the Potsdam City Palace since 1700; Around 1850 this carpet, along with other items, served as a cover for a booth at the Berlin Christmas market and was bought by a private art connoisseur; depicted is the hunt of Atalante and Meleager on the Calydonian boar .
014th		Frédéric Reclam	Margravine Sophie Karoline Marie von Brandenburg-Bayreuth as Diana	around 1763		The Margravine Sophie Caroline Marie von Braunschweig-Wolfenbüttel was the second wife of Friedrich III after the death of Wilhelmine of Prussia . ; she is shown here as the Greek goddess of hunting Diana with a bow and arrow.
Showcase		Wilhelm Christian Meyer (?)	Diana	around 1769	Porcelain figurine	This Diana probably comes from a series of figures of gods by the Königliche Porzellanmanufaktur Berlin (KPM); the figure holds a bow and arrows; On her head she apparently wore a crescent moon, which was also common for depictions of Diana; the piece belongs to the KPM porcelain collection of the state of Berlin.
Showcase		Johann Joachim Kaendler	Legend of Saint Hubert	1741/1893	Porcelain figure group from Meissen	Motifs like that of the Hubertus legend were popular and were often copied; This version from 1893 with Neo- Rococo decorations on the base was a gift from the Saxon King Albert of Saxony to Kaiser Wilhelm II.
015th		Matthäus Merian the Younger	Landgrave Friedrich von Hessen-Eschwege as a falconer	before 1655		In 1655, the year he died, Friedrich von Hessen-Eschwege came to the Brandenburg court and presented his trained birds of prey in Lehnin ; Merian the Younger portrayed the Swedish generals and colonels and on the occasion, verifiably, met in 1649 and 1650 with Friedrich, who was also in Swedish service.
016		Frans de Hamilton	Hunting still life	1665/1670		Hamilton specialized in hunting pieces and still lifes; Bird hunting utensils such as pipes, fishing nets and a decoy are shown ; The picture belonged to the Potsdam Fasanerie as early as 1698 ; In the first half of the 19th century it was in the Potsdam City Palace, and since 1860 in the Grunewald hunting lodge.
017th			Killed ducks	between 1661 and 1695		This picture came only in 1932 when the museum opened in the Grunewald hunting lodge; between 1777 and 1856 it hung in various places in the Berlin Palace.
018th			Killed partridge	2nd half of the 17th century		From 1793 to 1856 in the Berlin Palace, since 1860 in the Grunewald hunting lodge.
019th		Corneli [u] s or Jacobus Bilzius (Biltius, van der Bilt)	Dead woodcock hanging on the wall	2nd half of the 17th century		Both painters mainly provided still lifes with hunting, their style is so similar that the works can only be precisely assigned by means of signatures; between 1810 and 1855 in the Potsdam City Palace with different picture titles, since 1860 in the Grunewald Hunting Lodge (formerly Potsdam City Palace).
020th		Johann Christof Merck	wolf	1712		Court painter Merck portrayed a wolf that Friedrich Wilhelm I killed as Crown Prince on December 22, 1712 in the Lindower Lietze ; the inscription on the stone in the foreground documents the event
021st		Matheus Bloem	Fox	1666		Bloem mainly painted still lifes; the fox image comes from the collection of Friedrich Wilhelm von Thule Meyer , of Frederick II. as a diplomat in The Hague served
022nd		unknown	Hunting sows and foxes in front of a hunting lodge	around 1720		The picture shows a so-called splendor hunt , the Elector Palatine Karl III. hosted; it belongs to a series of 16 such pictures from Schwetzingen Castle that Karl had copied and given away to various rulers; the background of the picture is probably not built architecture, just a painted backdrop
023			Capital red deer in the park of Schwedt Castle	around 1733		the red deer are in the park of Schwedt Castle , the seat of a Brandenburg branch of the Hohenzollern family; the picture is supposed to show the abundance of game in the area and the representative castle; Margrave Friedrich Wilhelm had the surrounding landscape provided with hunting trails; Loan from the Federal Republic of Germany;
024			Deer with sixty-six-pointed antlers	after 1768		The model for the picture of the stag that was shot in 1696 was a copper engraving; for Elector Friedrich III. The 66ender trophy brought a great reputation as a hunter; his son, Friedrich Wilhelm I , gave the antlers to August the Strong ; today it is in Moritzburg Castle
025th		Hendrik de Fromantiou	Two deer	End of 17th century	Oil on canvas 127 × 155 cm	Two deer, one resting on the ground, the other standing on the left in an open area; the deer show a conspicuous coat coloration, they were probably kept in the menagerie of Frederick II; Proven in 1793 in the Berlin Palace; Acquired by the city of Celle in 1939, owned by the Prussian Palaces and Gardens Foundation Berlin-Brandenburg since 2012
Showcase		Eckardstein Factory Berlin	Punch bowl in the shape of a wild boar	Mid 19th century	Earthenware vessel	This type of tableware alludes to the dining culture of the show court, which was widespread in ruling houses in the 17th century ; The punch was probably used under King Friedrich Wilhelm IV. for exuberant parties in the Grunewald hunting lodge
Showcase		Royal Porcelain Manufactory Berlin	Two fox heads as welcome	1837-1844	porcelain	The drinking cups had to be emptied in one go, as they do not have a flat base to put down; they originally belonged to the inventory in Babelsberg Castle
Wall (top left)			Deer head with wig antlers	1952	Prepared animal on wood	Shot in Prambachkirchen 1952
Wall (top left right)			Wood grouse		Animal preparation
Wall (center left)			Wild boar tusks		Wood boar tooth
Wall (bottom left)			Piece of antler fused with tree		Wood stag horn	It is a matter of the overburdening of a shed piece of antler by a rapidly growing tree; Such found objects were said to have supernatural powers in superstition
Wall (above the door)		190?	Ten-pointed antlers		Wood stag horn	Shot by Kaiser Wilhelm II on October 25, 190? in Blankenburg
Wall (right)			Antler fragment on deer's head		Porcelain stag horn
Castle courtyard		Friedrich Wilhelm Wolff	The wild boar hunt	1861	cast iron	The group of animals sculpture bears an incised signature with the year 1861 on the lower left; The raised lettering at the front on the base indicates the iron foundry; the cast is said to have been made in either 1894 or 1902; a so-called hunt is shown in which three hunting dogs try to catch the wild boar; Originally the sculpture stood in front of the castle entrance, today it is placed in front of the hunting gear store opposite.

First floor

First floor
No.	Work / illustration	Artist	object	year	Technology, material, dimensions	Provenance, curatorial information
001		Franconian master of the Cadolzburg altar	Cadolzburg Altar	around 1425/1430	Wooden panels; the middle part measures 161.5 × 97.8 cm ( detailed views )	Originally intended for the parish church of Cadolzburg ; the altar is an example of the earliest art commissions from the Brandenburg electors.
002		Master of the Aachen cabinet doors (workshop)	Flagellation of Christ	around 1490		Originally part of a Passion Altar ; owned by the Hohenzollern family since the 19th century; 1945 in the USA, then returned to Berlin as a donation in 2011; other preserved parts of the altar are in the Würth Collection and are privately owned.
003		Dutch painter	Madonna and Child	around 1480		Presumably used for domestic devotion due to its small size.
004th		Dutch painter	Adoration of the Magi	Late 15th / early 16th century		In a simultaneous representation, the procession of the Three Magi is shown in the background, who adore Christ in the foreground .
005		Dutch painter	Madonna and Child	around 1500 (?)		In the style of the Bruges painters Hans Memling and Gerard David ; the male figure probably represents the founder of the picture.
006th		Workshop of Pieter Coecke van Aelst	Hand washing of Pilate	16th Century		Antwerp painting in the style of Italian Mannerism with elongated figures and seemingly artificial posture.
007th		Copy after Jan Gossaert (?)	Adam and Eve	Early 16th century		It is disputed whether the picture with the two nude figures is an independent work of Gossaert or an early copy; it goes back to a print based on an ancient model.
008th		Hans Leonhard Schäufelein (?)	Vain Friedrich II.	around 1530		Vain Friedrich II of the Swabian Hohenzollern served both the Brandenburg electors and the Habsburg emperor, Emperor Maximilian I ; The picture is owned by the House of Hohenzollern, in person "SKH" (His Royal Highness) Georg Friedrich Prince of Prussia .
009		Joos van Cleve	Emperor Maximilian I.	Early 16th century		Joachim II was educated as electoral prince at Maximilian's court for a while.
010		Copy after Albrecht Dürer	Kaspar Usefulel	second half of the 16th century		Based on a drawing that Dürer made by Kaspar Vorteilel in 1517; It was only at that time that portraits acquired the individual features of those depicted.
011		In the manner of Bartholomäus Bruyn the Elder	Vanitas still life	around 1555	Wood	The vanitas symbols , often painted on the back of portraits, were intended to point out to those portrayed the transience of life. Here with the inscription DER MYNSCH is erd vnd wyrt verzert Lieflich Gestalt is worth long
012		Bartholomäus Bruyn the Elder	Lady with two carnations	1530	Oil on panel 24 × 32 cm	“Portrait of a woman, turned to the left, in a black, fur-lined dress, gold-embroidered bodice and belt. She wears a brocade bonnet and rich jewelry. In her right hand the lady holds two carnations, the left one rests on a table. On the […] background above the designation 1530 and on the frame the renewed inscription: IN DISSER GESTALT WAS ICH 42 IAR ALT. - On the back a vanitas. “ The carnations are symbols of marriage or marriage; on the back there is a bone and a skull in a painted niche, as well as a Latin saying reminding of death. This portrait included a second one depicting a male person. Both portraits were in the stacks of the royal museums in 1891.
013		Hans Schenck	Relief portrait of Tiedemann Giese	around 1520/1530	Wooden relief	Tiedemann Giese , a Catholic theologian, canon and later bishop, is shown against the background of ruined architecture. In his hands he holds a skull, which is not only a vanitas symbol, but also relates to pre-Reformation humanistic ideas.
014th		Lucas Cranach the Elder (workshop)	Holy Erasmus	around 1520-1530	Oil painting on linden wood 29 × 10.4 cm	In this picture Cardinal Albrecht von Brandenburg , recognizable by the coat of arms on his robe, can be depicted as Saint Erasmus , the patron saint of the Hohenzollern family; It cannot be clarified whether the woman portrayed as Saint Ursula in a physiognomic manner was a mistress of the cardinal; the picture is owned by the House of Hohenzollern, in person "SKH" Georg Friedrich Prince of Prussia .
015th		Lucas Cranach the Elder ( Simon Franck School ?)	Cardinal Albrecht of Brandenburg	after 1529	Oil painting on linden wood 53.4 × 40.2 cm	The cardinal was a brother of Elector Joachim I , who became wealthy through a brisk indulgence trade . Bought by Kaiser Wilhelm II in 1908.
016		Lucas Cranach the Elder	Elector Joachim I. Nestor of Brandenburg	dated 1529	Oil painting on beech wood 52.4 × 35.8 cm	Resolute opponent of the Reformation; had Martin Luther's writings banned in Brandenburg. Acquired in 1902 by Kaiser Wilhelm II from Frankfurt's private collection for the Hohenzollern Museum.
017th		Lucas Cranach the Elder	Elector Joachim II of Brandenburg	around 1520	Oil painting on beech wood 61.5 × 43.2 cm	Joachim II is shown as a young prince in a resolute and ready-to-fight pose; in the possession of the Dukes of Anhalt since the beginning of the 19th century, acquired from their property around 1930; Lent to Hermann Göring's collection in 1936 ; Restitution from August 1, 1945 to December 15, 1948 , returned to the Grunewald hunting lodge in 1948.
018th		Lucas Cranach the Elder's workshop	Prince Johann of Anhalt	around 1520	Oil painting on beech wood 64.9 × 45.8 cm	Johann came to his uncle in Berlin for education; his portrait (probably intended as a counterpart to No. 17) is more simply executed due to the difference in rank; from the beginning of the 19th century until after the First World War in the possession of the Dukes of Anhalt in the Gothic House in Wörlitz; Acquired from private ownership in Cologne in 1958.
019th		Lucas Cranach the Elder	Martin Luther	around 1530	Oil painting on linden wood 38.2 × 24.8 cm	The well-known motif was produced by Cranach in numerous versions between 1528 and 1530, because it belongs to a portrait type popular at the time; In contrast to his father and uncle, Joachim II was impressed by Martin Luther since a meeting in 1519.
020th		Lucas Cranach the Elder	Adam	1537	Oil painting on linden wood 175 × 67.4 cm	The motif was also a great success for Cranach's workshop; there are still more than 50 versions of it today; The basis was Cranach's preoccupation with Albrecht Dürer's copperplate engraving from 1504 and his paintings from 1507; proven in the Berlin Palace since 1793.
021st		Lucas Cranach the Elder	Eve	1537	Oil painting on linden wood 175 × 66 cm	Counterpart to Adam; Eve has already bitten the apple from the tree of knowledge , while Adam is still hesitating; the deer has several meanings, as a symbol for peaceful coexistence in paradise, as an enemy of the serpent, as a symbol of Christ and as a reference to overcoming original sin ; proven in the Berlin Palace since 1793.
022nd		Lucas Cranach the Elder	Lucretia	1529	Oil painting on beech wood 56.6 × 38.2 cm	Cranach depicted the motif of the faithful Roman Lucretia around 40 times, also a successful product of his workshop; as a nude it was popular since 1520; probably comes from the Potsdam City Palace; Detected in 1811 in the corridor behind the Sanssouci picture gallery; exhibited in the Grunewald hunting lodge before the Second World War and missing after the war; 1956 owned by the Wallraf-Richartz-Museum, Cologne; Acquired in 1958 after a lawsuit by a gallery association in Stuttgart for Berlin; since 1970 owned by the Prussian Palaces and Gardens Foundation Berlin-Brandenburg.
023		Lucas Cranach the Elder	Judith with the head of Holofernes	dated 1530	Oil painting on beech wood 74.9 × 56 cm	The picture with the theme Judit and Holofernes was repainted base before 1819, now it was Jael that Sisera kills with a nail; In 1973 and 1984, after extensive restoration and removal of the overpainting, Cranach's original composition was restored.
024		Lucas Cranach the Elder	Source nymph	around 1515–1520	Oil painting on linden wood 58.2 × 87.1 cm	A motif invented by Cranach himself, which he repeated in several versions; it is an erotic subject that is apparently based on a spring nymph cult from Italy .
025th		Lucas Cranach the Elder	The Apostles' feet washing	1537 or 1538	Oil painting on linden wood 149.9 × 113.5 cm	First of nine surviving panels of the Passion Cycle , a series of probably 14 middle panels made of linden wood, which were intended for the altars in the church of the former Dominican monastery in Cölln , which Joachim II had consecrated as the burial place and collegiate church (the side panels of these altars do not exist more); They were designed and conceived by Cranach the Elder, they also bear his snake signature, but were executed by his son and employees of the workshop; The furnishings in Hallesches Dom probably served as a model ; Some of the panels belong to the holdings of the Gemäldegalerie of the State Museums in Berlin .
026th		Lucas Cranach the Elder	Christ on the Mount of Olives	1537	Oil painting on linden wood 150.2 × 113.4 cm	The painting combines the Bible passages Matthew 26, 36-47; Mark 14, 32-43 and Lucas 22, 39-46; Christ kneeling in the garden of Gethsemane ; in the foreground three sleeping apostles.
027		Lucas Cranach the Elder	Flagellation	1537	Oil painting on linden wood 149 × 112.6 cm	Christ with a suffering expression directed directly at the viewer is tied to a pillar and violently mistreated by grimacing men in 16th century clothing; in the foreground a henchman is weaving a crown of thorns .
028		Lucas Cranach the Elder	Crowning of thorns	1537	Oil painting on linden wood 152.6 × 113.5 cm	Christ sits humbly in complete rest while his tormentors move violently, a man in a velvet robe mocks him, Pilate stands on the gallery with soldiers.
029		Lucas Cranach the Elder	Ecce homo	1537	Oil painting on linden wood 152 × 116.4 cm	On the gallery, Pilate presents Christ to the high priests and speaks the words Ecce Homo ("See, what a man" according to John 19, 4-15); Christ wears a crown of thorns, a red cloak, a palm branch, and is mocked as the "King of the Jews".
030th		Lucas Cranach the Elder	Christ carrying the cross	1537/1538	Oil painting on linden wood 149.3 × 113.3 cm	In the foreground, Christ collapses under the weight of the cross, Simon of Cyrene helps him at the command of a soldier; Soldiers treat him with blows, kicks and obscene gestures.
031		Lucas Cranach the Elder	Entombment	1538	Oil painting on linden wood 150.2 × 111.2 cm	The disciples Joseph of Arimathea , Nicodemus and John put Jesus in a sarcophagus ; Behind the grave stand the complaining women; in the foreground Mary Magdalene kneels with folded hands ; the crown of thorns lies on the ground.
032		Lucas Cranach the Elder	Christ in Limbo	1538	Oil painting on linden wood 151.2 × 116.2 cm	Christ frees the righteous of the old covenant and innocent children; the story told is not contained in the Bible, but comes from medieval apocryphal writings; Flames and black smoke with diabolical animal figures escape from limbo.
033		Lucas Cranach the Elder	Resurrection of Jesus Christ	1538	Oil painting on linden wood 150.6 × 111.8 cm	Christ is risen and stands on the sarcophagus in a victorious pose, his head surrounded by a halo; he wears a flowing red cloak and, as in a picture of limbo, the flag of the cross on a glass rod; his wounds seem to have already partially healed; the soldiers slowly awakening in the foreground are already hesitant to react to the resurrection; this situation is not described in the Bible either; it also comes from early Christian apocrypha.
034		Lucas Cranach the Elder	David and Bathsheba	around 1540/1545	Oil painting on linden wood; Portrait format 208 × 106 cm	Belongs to the four exemplum panels presumably commissioned by Joachim II to furnish the new so-called “Stechbahnflügel” ( on the Stechbahn ) of the Berlin Palace near Cranach the Elder , which depict allegories of exemplary and reprehensible ruler's behavior; As a seductive woman, Bathsheba symbolizes the power of women over men
035		Lucas Cranach the Elder	The judgment of Paris	around 1540/1545	Oil on linden wood; Portrait format 209 × 107 cm	for meaning see judgment of Paris
036		Lucas Cranach the Elder	David fights against Goliath	around 1540/1545	Oil on linden wood; Portrait format 209.5 × 106.6 cm	The fight between David and Goliath serves as an example of virtues of courage and valor.
037		Lucas Cranach the Elder (workshop)	The judgment of Cambyses	around 1540/1545	Oil on linden wood; Portrait format 209.4 × 107.1 cm	Shown is the story of the judge Sisamnes, who was skinned for corruption, see Otanes (son of Sisamnes) ; Cranach's picture shows the judge's skinning in a kind of simultaneous representation in the upper right corner
038		Heinrich Bollandt (after Perini?)	Joachim II	1619		The portrait of Elector Joachim II was originally intended for the ancestral gallery of the Plassenburg , the seat of the Franconian Hohenzollern; probably based on a model by Giovanni Battista Perini from 1562.
039		School of Lucas Cranach the Elder	Elector Princess Magdalena of Brandenburg	around 1530/1540	Painting on linden wood 51.3 × 37.9 cm	Magdalene von Sachsen had been married to Joachim II since 1524, the marriage was supposed to strengthen the political connection to Catholic Saxony; the picture is probably an early copy of a lost painting from 1530; from the possession of "SKH" Georg Friedrich Prince of Prussia. Recorded as a portrait of a woman by Dürer in the picture gallery of the Berlin Palace since 1790.
040		Unknown artist (possibly Hans Krell )	Electress Hedwig of Brandenburg	around 1535/1540		Hedwig was the daughter of the Polish King Sigismund I and from 1535 the second wife of Joachim II after the death of Magdalene; from the possession of "SKH" Georg Friedrich Prince of Prussia.
041		Lucas Cranach the Younger	Margrave Georg the Pious of Brandenburg-Ansbach without headgear	1571	Painting on linden wood 101.4 × 72.2 cm	The margrave shows himself in a devout posture, which suggests that the picture should serve as an epitaph or devotional image ; since 1811 owned by the Hohenzollern family, today “SKH” Georg Friedrich Prince of Prussia. Presumably commissioned by Georg's son for an ancestral gallery on the Plassenburg, in 1786 Ansbach Castle, from where it came to Berlin in 1811.
042		Lucas Cranach the Younger	Margrave Georg the Pious of Brandenburg-Ansbach with headgear	1571	Painting on linden wood 94.1 × 77 cm	Posthumous portrait of the margrave, perhaps commissioned by his son Georg Friedrich I ; Georg's simple black clothing modeled on Martin Luther, later became the robe of rank for Protestant rulers, here it indicates Georg's early turn towards the Reformation; from the possession of "SKH" Georg Friedrich Prince of Prussia. Presumably commissioned by Georg's son for an ancestral gallery on the Plassenburg, in 1786 Ansbach Castle, from where it came to Berlin in 1811.
043		Lucas Cranach the Younger	Margrave Georg Friedrich of Brandenburg-Ansbach-Bayreuth	around 1564	Painting on linden wood 99.4 × 73.5 cm	The Margrave is dressed in the Spanish style, outwardly simple, which suggests his fashion consciousness and is not a contradiction to his Lutheran convictions; Probably commissioned for an ancestral gallery on the Plassenburg, came to Berlin from Ansbach Palace in 1811.
044		Monogrammist AS (Ambrosius Silberbart)	The Fall - Adam and Eve	1534		AS was demonstrably an employee of the Cranach workshop from 1536 to 1538; A copper engraving by Albrecht Dürer is the model for this motif of the Fall of Man.
045		Lucas Cranach the Younger	Baptism of christ	1556	Oil painting on linden wood 62 × 82 cm	It is a political “denomination” of Reformed princes; Christ is baptized in front of a view of the city of Dessau in the presence of nobles and reformers, for example Luther and Philipp Melanchthon can be recognized; This painting commemorates the wedding of Johann IV and Margaret of Brandenburg in 1534
046		Cranach environment	Adoration of the Magi	16th Century		The picture is a copy of a painting by Lucas Cranach the Elder; Cranach's snake signature indicates the year 1530, but it was probably not created until the end of the 16th century

Second floor

2nd Floor
No.	Work / illustration	Artist	object	year	Technology, material, dimensions	Provenance, curatorial information
001		Heinrich Bollandt	Margrave Christian of Brandenburg-Bayreuth	around 1618	Oil painting on wooden panel 58.5 × 52.1 cm	At the top right is the inscription: “CHRISTIANVS DEI GRATIA / Marchio Brandenburgensis, Borus = / siæ etc. DuX. Etc."; The artist created these portraits in a new style, he moves the sitter to the foreground, dispenses with a background design and the head is slightly above the center of the picture, giving the painting a pyramid-like composition and anchoring the sitter firmly in the frame; Bollandt was employed as court painter by Margrave Christian either from 1613 or 1616 ; This and the following portrait of Bollandt are in the possession of the House of Hohenzollern in the person of "His Royal Highness (HRH)" Georg Friedrich Prince of Prussia .
002			Margravine Maria of Brandenburg-Bayreuth	1618	Oil painting on wooden panel, image size 56.8 × 51.4 cm	At the top left of the picture is the inscription “V: G: G: Maria / geborne und vermahlete / Margg. to Brandb: in Preus / Hertz [...] “; Marie of Prussia married Margrave Christian of Brandenburg-Bayreuth at the Plassenburg in 1604 and thus became a margravine; Bayreuth was to serve them as their royal seat, but at the beginning of the Thirty Years' War they had to retreat to the Plassenburg.
003			Hereditary Prince Erdmann August von Brandenburg-Bayreuth at the age of three	1618	Oil on linden wood panel 61.5 × 54.3 cm	On the top right is the inscription: "VGG Erdmann Augustus Markgraff zu / Brandenburg, Hertzog in Prussia etc. ÆTAT […] / suæ 3rd year Ao 1618"; According to the art historian and curator Gerd Bartoschek, this portrait of Erdmann August von Brandenburg-Bayreuth is "one of the most attractive works by Heinrich Bollandt." the thin application of paint and the light background emphasize the boy's "fragile appearance"; the boy holds three rose petals in his left hand, corresponding to the age of his life.
004th			Hereditary Prince Erdmann August von Brandenburg-Bayreuth at the age of three	1630	Oil on canvas 61.6 × 53.9 / 54.1 cm	On this portrait of the prince, which was painted on canvas 12 years later, the inscription “VGG Erdmann Augustus Markgraff / zu Brandenburg inn Preussen / Hertz. Anno 1630 "; In contrast to the previous one, the canvas of this painting is provided with a denser, more colorful application of paint and has a stronger light-dark contrast; both portraits were in the picture collection of the Plassenburg.
005		unknown	Duke Albrecht Friedrich in Prussia	1612	Oil painting on canvas 93 × 79 cm	Albrecht Friedrich was the second secular ruler in Prussia; According to the opinion of the time, however, he was "mentally ill" and could not exercise the reign as duke.
006th			Duchess Maria Eleonore in Prussia	around 1600	Oil painting on canvas 131 × 77 cm	Duchess Maria Eleonore was married to Albrecht Friedrich in 1573; Until her arrival she did not know anything about her husband's condition, but she had seven children from him, with only five daughters surviving; Whether both portraits come from Daniel Rose, who had been court painter since 1602, cannot be decided with certainty, as there are hardly any reliable works of him that have survived; the pictures were probably not originally in the same format, but Maria Eleonora's portrait bears the letter B in the lettering in the top left, which suggests a certain hanging in the ancestral gallery on the Plassenburg; the picture by Anbrecht Friedrich has no corresponding designation
007th		Attributed to Philipp Cordus	Elector Johann Georg von Brandenburg and Christ in conversation	1590	Oak wood panel; 17.2 x 25.5 cm	Christ and Johann Georg hold a conversation behind two tables, as in a learned disputation , in rhyming verses that appear in writing in the background of the picture; Johann Georg presents Christ with a small bouquet of Jelängerjelieber ; The table is to be classified in the context of epitaphs , leaflets and altarpieces that spread the new teaching after the Reformation; the small format suggests that this is an intimate creed of Johann Georg spoken through the flower ; it was acquired in 2008.
008th		Andreas Riehl the Younger	Elector Johann Georg von Brandenburg at the age of 71	1597		Since he became court painter in 1593, Andreas Riehl the Younger has not only portrayed the Elector couple Johann Georg and his third wife Elisabeth von Anhalt , but also five of their eleven children; after Johann Georg's death in 1598, Riehl served Georg Friedrich I at the Plassenburg , in which this series of portraits was part of the ancestral gallery there; The pictures came into the possession of the Brandenburg Hohenzollern in 1806 during the Fourth Coalition War ; They came to Berlin in 1822 and were distributed among the Prussian castles.
009			Electress Elisabeth von Brandenburg at the age of 33	1597		In 1577, the elector Johann Georg married Elisabeth von Anhalt , who was almost 40 years his junior and who gave birth to eleven children; one of her sons later became Margrave Christian von Brandenburg-Bayreuth .
010			Margravine Elisabeth Sophia von Brandenburg at the age of 7	1596		Elisabeth Sofia was married twice, from 1613 to Janusz Radziwiłł and after his death in 1620 from 1628 to Duke Julius Heinrich von Sachsen-Lauenburg .
011			Margravine Magdalena von Brandenburg at the age of 15	1596	Oil on canvas 101 × 83 cm	Margravine Magdalena married Landgrave Ludwig V of Hessen-Darmstadt in 1598 .
012			Margravine Dorothea Sybilla von Brandenburg at the age of 6	1596
013			Margravine Agnes von Brandenburg at the age of 12	1596		Agnes von Brandenburg also had two marriages, from 1604 until his death in 1625 with Duke Philipp Julius of Pomerania , childless and from 1628 with Duke Franz Karl von Sachsen-Lauenburg, who was 10 years his junior .
014th			Margrave Georg Albrecht of Brandenburg at the age of 5	1596		This portrait of Margrave Georg Albrecht was removed from the line of ancestors in the 19th century because King Friedrich Wilhelm IV. Probably gave it to his brother Carl von Prussia , who, like Georg Albrecht, was Lord Master in the Prussian Order of St. John; It returned in 1999.
015th		Nathan Mau (attributed)	Electress Catherine of Brandenburg	around 1600 and later (?)	Oil painting on canvas 118.5 × 86 cm	Katharina von Brandenburg-Küstrin was interested in the natural sciences and medicine, so she also ran the court pharmacy as a social institution for the poor; when this was re-established under Friedrich Wilhelm I , her portrait could already have been there, the picture was redesigned and received various inscriptions that made it an epitaph ; the book in her left hand bears the title PRAXIS PIETATIS (active mercy) , which is only partially legible today , and refers to the pietism of Halle; since this reorganization there was a Bible verse on the left side of the picture (Hebrews 13, verse 16): BENEFIT • AND • TOGETHER / THEILE (S) • FORGET • NOT • THERE / SUCH • SACRIFICES • FELL (len) • GOD • WELL ; During a restoration in the 1930s, this lettering was covered, but is still legible on old reproductions; the pose of the Electress, which was unusual for a female portrait at the time, lecturing with a raised right hand, a book in her left hand, symbolizes her inclination towards the sciences; the upper corners of the painted frame are decorated with leaves, flowers and fruits that could represent medicinal plants; Katharina wears pearl jewelry around her neck, symbolizing her wealth.
016		Joachim Siwert (attributed)	Elector Johann Sigismund of Brandenburg	around 1610		Elector Johann Sigismund with a determined look, in armor and with a general's staff; The picture is likely to be seen in connection with the victorious war for the United Duchies of Jülich-Kleve-Berg ; it is attributed to the then court painter Joachim Siwert; This version comes from the collection of the Saxon Electress Christiane Eberhardine of Brandenburg-Bayreuth at Pretzsch Palace , came to Berlin in 1828 and was in the former Hohenzollern Museum in Monbijou Palace .
017th		Unknown artist	Electress Anna of Brandenburg	around 1615 (?)		Anna of Brandenburg is shown here in a precious red dress, fan and rich jewelry; under ultraviolet light the remainder of an inscription appears: “Consort. Johann (...) Sigismunds ”; in the 18th century the picture was in the Berlin Palace
018th		Unknown artist	Elector Georg Wilhelm of Brandenburg	around 1635		Elector Georg Wilhelm wanted to maintain neutrality during the Thirty Years' War , but the pressure became too high and he allied himself with the Catholic League and Emperor Ferdinand II (HRR) because his brother-in-law and Protestant brother-in-law Gustav Adolf occupied all the ports on the one hand and those on the other imperial troops who used the Mark Brandenburg as a transit country; after the war he retired to East Prussia and left the business of government to his Catholic Chancellor Adam von Schwarzenberg ; the picture comes from the former Hohenzollern Museum in Berlin 's Monbijou Palace
019th		Unknown artist	Electress Elisabeth Charlotte of Brandenburg	around 1635		Elisabeth Charlotte's marriage to Georg Wilhelm was intended to emphasize the proximity of the ruling house to Calvinism; this picture and the portrait of Georg Wilhelm (No. 18) are counterparts ; since the canvas of the painting by Elisabeth Charlotte did not have to be relined , the picture is today in its original condition.
020th		Copy after Jan Mytens	Family portrait of the great elector	1666 or later	Oil on canvas 162 × 200 cm	Elector Friedrich Wilhelm von Brandenburg is shown here with his first wife Luise Henriette von Oranien and their sons Karl Emil (left), Friedrich (right) and Ludwig (on their mother's lap). Above you can see the deceased children Wilhelm Heinrich (1648–1649) and the twins Heinrich (1664) and Amalia (1664–1665) on a cloud level. The family portrait reflects the parents' pride in the apparently secured inheritance with three sons. However, only Friedrich (later Elector Friedrich III of Brandenburg / King Friedrich I in Prussia) survived his parents. The Electress died just a few months after making the painting, the sons Karl Emil and Ludwig at the age of 19 and 20 years. Mytens original picture can be seen today in Oranienburg Castle.
021st		Michael Leopold Lukas Willmann	Glorification of the Great Elector as the protector of the arts	1682	Oil on canvas 162 × 200 cm	The apotheosis of rulers to gods or demigods is already known from ancient Greece . This subject revived in the visual arts in the Baroque era. The painting shows Friedrich Wilhelm von Brandenburg seated on the throne below the heavenly muses. Next to him on a table are the insignia of power. On the left you can see the gods Minerva, Hercules and Apollo (with lyre), who refer to the ruler's efforts to keep the peace. A heavenly messenger (top left) blows a trumpet. On the right, the personifications of painting, architecture and sculpture pay homage to him as promoters of the arts in peacetime. The personification of abundance distributes coins to the arts from the cornucopia and Fama proclaims the immortality "Immortalitati" of his fame in a lettering. The painting was in Königsberg Castle and came back to the exhibition in 2009 after the restoration.
022nd		Unknown artist and Adriaen van der Spelt	Prince Elector Karl Emil in a wreath of flowers	around 1660	118.5 x 95 cm	The painting shows Karl Emil, around ten years old, as heir to the throne of Friedrich Wilhelm, dressed in armor that looks like a Roman. Over it he wears a cloak that is trimmed with ermine fur. He is holding a staff in his left hand. The portrait is surrounded by a garland of lilies, roses, tulips and other flowers and signed AVspelt lower right ; the flower garland comes from van der Spelt. The figure, on the other hand, cannot be clearly assigned to him according to a more recent view.
023		Unknown artist	Laying out of Prince Elector Karl Emil	around 1674		The 19-year-old Prince Elector Karl Emil fell seriously ill with dysentery on a campaign against France and died shortly afterwards; the picture is at the same time an allegory of transience, an event picture and a portrait; allegory appears as Putten group in a heavenly sphere above the catafalque of the prince, directing their gaze to other Putten at the bottom that hold an open Bible, standing on faith as a guide and consolation for death; The scene is framed by objects that are carelessly put away and are considered symbols of power, fame and fortune.
024		Philipp Wilhelm Nuglisch (attributed to)	Elector Friedrich Wilhelm on horseback	after 1678		Friedrich Wilhelm in a determined pose on the way to battle, behind him a page wearing the helmet; this type of representation with a noble soaring horse is typical of the general portraits of the time; In the background of the painting one can see Brandenburg troops landing on the island of Rügen in the Northern War , in September 1678, when Rügen was temporarily recaptured by Sweden; on the back of the picture are the initials PWN , which may suggest Philipp Wilhelm Nuglisch as the author, because he was involved in the electoral buildings at that time.
025th		Friedrich Wilhelm Weidemann or Samuel Theodor Gericke	Friedrich I.	after 1701		Elector Friedrich III. is shown as the Prussian King Friedrich I in his coronation regalia with the Order of the Black Eagle , which he himself had donated the day before his coronation (January 18, 1701) as a house order of the Hohenzollern; over the armor he wears the ermine cloak as a symbol of his quality as supreme general.
026th		Dismar Degen (attributed)	Friedrich Wilhelm I on horseback	around 1730		Friedrich Wilhelm I had Potsdam expanded into a residential and garrison city, so the city with the tower of the old Nikolaikirche can also be seen in the background of the picture.
027		Friedrich Georg Weitsch (after Anton Graff )	Friedrich II.	around 1800		Anton Graff created the well-known portrait of Frederick II in 1781 for the Prussian ambassador in Dresden, Philipp Karl von Alvensleben , and he also made other copies of the well-known old age portrait of the king; The version of Weitsch, which was made long after Friedrich's death, is darker, has a different head position and thus appears more restrained.
028		Unknown artist (after Anna Dorothea Therbusch )	Friedrich Wilhelm II as Prince of Prussia	around 1775		This portrait of Friedrich Wilhelm II , which is based on the style of the painter Anna Dorothea Therbusch and is probably not a personal copy, comes from Schlobitten Castle ; a similar portrait of the prince went to the Russian tsarist court in 1773; It was acquired with funds from the Stiftung Deutsche Klassenlotterie Berlin .
029		Ernst Gebauer	Friedrich Wilhelm III.	1826		King Friedrich Wilhelm III. was painted in this picture in the manner of official state portraits, such as the French painter François Gérard carried out for the House of Bourbon ; Gebauer copied this style and placed it in the background; the king is standing on the Potsdamer Pfingstberg , in the background the new Russian settlement Alexandrowka with a chapel, begun by Friedrich Wilhelm 1826 /, can be seen; The picture was acquired with funds from the Deutsche Klassenlotterie Foundation.

literature

• Painting in the Grunewald hunting lodge . In: Martin Henning, Heinz Gebhardt (Hrsg.): Yearbook for Brandenburg history . tape 1 . Regional history Association, Humboldt University, 1950, ISSN  0447-2683 , p. 41–44 ( docplayer.org [PDF]).
• Helmut Börsch-Supan: Cranach's “Judith” in the collection of the Grunewald hunting lodge. In: Dieter Koepplin, Tilman Falk: Lukas Cranach - paintings, drawings, prints - exhibition at the Kunstmuseum Basel. Volume 1. Basel 1974, pp. 413-418 ( digi.ub.uni-heidelberg.de ).
• Carola Aglaia Zimmermann: Cranach in Grunewald. In: MuseumsJournal. 4/2011. From the collections of Jagdschloss Grunewald October 1, 2011.
• Gerd Bartoschek, Ruben Rebmann, Elke Anna Werner: Cranach and the art of the Renaissance under the Hohenzollern: Church, courtyard and urban culture - An exhibition by the Prussian Palaces and Gardens Foundation in Berlin-Brandenburg in cooperation with the Evangelical Church Congregation St. Petri - St. Marien . Ed .: Foundation Prussian Palaces and Gardens Berlin-Brandenburg, State Museums in Berlin. Deutscher Kunstverlag, Berlin 2009, ISBN 978-3-422-06910-7 .

Web links

Commons : Collections in the Grunewald hunting lodge

• Grunewald Hunting Lodge - Prussian Palaces and Gardens Foundation Berlin-Brandenburg
• The Cranach Collection in the Grunewald Hunting Lodge - Prussian Palaces and Gardens Foundation Berlin-Brandenburg
• Museum Digital - lucascranach.org (The selection can be restricted to the museum)

Video

• Cranach painting in the Grunewald hunting lodge - youtube.com (background information on the Cranach collection)

Individual evidence

1. ^ Cranach in Grunewald - Foundation Prussian Palaces and Gardens Berlin-Brandenburg.
2. ↑ ^{a b c} Booklet accompanying the exhibition with descriptions, which is available to visitors in the castle.
3. ↑ Andreas Cante in: Cranach and the art of the Renaissance under the Hohenzollern. Exhibition catalog. Berlin-Munich, ISBN 978-3-422-06910-7 , p. 50.
4. ^ Elector Joachim II of Brandenburg. - lucascranach.org.
5. ↑ Interesting find from the Grunewald hunting lodge [cast iron fireplace decorative plate] . In: Brandenburgia. Monthly newspaper of the society for local history and homeland security in the Mark Brandenburg, Berlin . XII. Year 1903/1904. P. Stankiewicz, Berlin 1904, p. 419-423 ( Text Archive - Internet Archive ). The cast iron plate in the Grunewald hunting lodge . In: Brandenburgia. Monthly newspaper of the society for local history and homeland security in the Mark Brandenburg, Berlin . XIII. Year 1904/1905. P. Stankiewicz, Berlin 1905, p.
    96 ( Textarchiv - Internet Archive ).
6. ↑ Björn Ahlhelm, Carola Aglaia Zimmermann: Grunewald hunting lodge . Ed .: Foundation Prussian Palaces and Gardens Berlin-Brandenburg (=  Royal Palaces and Gardens in Berlin ). Deutscher Kunstverlag, Berlin / Munich 2015, ISBN 978-3-422-04033-5 , pp. 18th f .
7. ↑ Gustav Parthey: Deutscher Bildersaal - directory of the oil paintings of deceased painters in all schools in Germany . Nicolais, Berlin 1863, p. 117 ( Bilzius, Cornelius  - Internet Archive ).
8. ↑ Monique Rakhorst, Fred Meijer: Cat. No. 35 - Het 'vergeten' oeuvre van Henri de Fromantiou ' In: Henri de Fromantiou. Vorstelijke Illusies, tent.cat. Maastricht (Bonnefantenmuseum) 2015, p. 93 and p. 106 (Dutch);
9. ↑ Description of the sculpture
10. ↑ Ingeborg Ruthe: Stolen art: Jesus as a soldier's booty . In: Frankfurter Rundschau . November 19, 2011 ( fr.de ).
11. ^ Eduard Firmenich-Richartz: Bartholomaeus Bruyn and his school - an art historical study (= contributions to art history. New series, XIV). EA Seemann, Leipzig 1891, pp. 80–81 Text archive - Internet Archive
12. ↑ Saint Erasmus. - lucascranach.org.
13. ^ Cardinal Albrecht of Brandenburg. - lucascranach.org.
14. ^ Elector Joachim I of Brandenburg. - lucascranach.org.
15. ^ Prince Elector Joachim II of Brandenburg. - lucascranach.org.
16. ↑ Johann von Anhalt. - lucascranach.org.
17. ↑ Martin Luther. - lucascranach.org.
18. ↑ Adam - Lucas Cranach the Elder - lucascranach.org.
19. ↑ Eva - Lucas Cranach the Elder - lucascranach.org.
20. ↑ Lucretia - lucascranach.org.
21. ^ P. Scott Brown: The Riddle of Jael: The History of a Poxied Heroine in Medieval and Renaissance Art and Culture . Brill, Leiden 2018, ISBN 978-90-04-36466-0 , pp. 9 ff . ( books.google.de - illustration of Jaël with hammer and nail).
22. ↑ Judith - lucascranach.org.
23. ^ Spring nymph. - lucascranach.org.
24. ↑ Björn Ahlhelm, Carola Aglaia Zimmermann: Grunewald hunting lodge . Ed .: Foundation Prussian Palaces and Gardens Berlin-Brandenburg (=  Royal Palaces and Gardens in Berlin ). Deutscher Kunstverlag, Berlin / Munich 2015, ISBN 978-3-422-04033-5 , pp. 31 ff .
25. ↑ The Apostles washing their feet. - lucascranach.org.
26. ↑ Christ on the Mount of Olives - lucascranach.org.
27. ↑ The flagellation of Christ. - lucascranach.org.
28. ↑ Crowning of Thorns. - lucascranach.org.
29. ↑ Ecce Homo. - lucascranach.org.
30. ↑ Christ carrying the cross. - lucascranach.org.
31. ↑ Entombment. - lucascranach.org.
32. ↑ Christ in Limbo. - lucascranach.org.
33. ↑ Resurrection of Jesus Christ. - lucascranach.org.
34. ^ Foundation Prussian Palaces and Gardens Berlin-Brandenburg: Bathsheba - Museum digital.
35. ↑ David and Bathsheba. - lucascranach.org.
36. ^ The judgment of Paris. - lucascranach.org.
37. ↑ David fights against Goliath. - lucascranach.org.
38. ↑ The Judgment of Cambyses. - lucascranach.org, with a detailed description of the picture.
39. ↑ Magdalena. - lucascranach.org.
40. ↑ George the Pious. - lucascranach.org.
41. ↑ George the Pious. - lucascranach.org.
42. ^ Margrave Georg Friedrich of Brandenburg-Ansbach-Bayreuth. - lucascranach.org.
43. ^ Hans Ost: Wallraf-Richartz-Jahrbuch. Volume 54. Cologne 1993, ISBN 3-7701-3286-6 , pp. 131-140, JSTOR 24661528 .
44. ↑ Baptism of Christ. - lucascranach.org.
45. ↑ Gerd Bartoschek: Cranach and the art of the Renaissance under the Hohenzollern. Exhibition catalog. Berlin / Munich, ISBN 978-3-422-06910-7 , p. 253.
46. ↑ Gerd Bartoschek: Cranach and the art of the Renaissance under the Hohenzollern. Exhibition catalog. Berlin / Munich, ISBN 978-3-422-06910-7 , p. 286 f.
47. ↑ Inscription of the picture: Be there cover my sufferings
    because I am forgetting my blood through
    this redeemed you from sins
    that have put your sell to iren drost
    and also that wholly humanly
    who believes (?) That is just
    Lord Jesus Christ The longer ever over
    the present I give you with herwider
    the blimlein Zardt vorgis not my onf
    that I keep thinking of your
    In my heart until my end then
    nim my sel in your Hendt
48. ↑ Gerd Bartoschek: Cranach and the art of the Renaissance under the Hohenzollern. Exhibition catalog. Berlin / Munich, ISBN 978-3-422-06910-7 , p. 228.
49. ↑ Björn Ahlhelm, Carola Aglaia Zimmermann: Grunewald hunting lodge. Ed .: Foundation Prussian Palaces and Gardens Berlin-Brandenburg (= Royal Palaces and Gardens in Berlin ). Deutscher Kunstverlag, Berlin / Munich 2015, ISBN 978-3-422-04033-5 , p. 39 f.
50. ↑ Gerd Bartoschek: Cranach and the art of the Renaissance under the Hohenzollern. Exhibition catalog. Berlin / Munich, ISBN 978-3-422-06910-7 , p. 234 f.
51. ^ Elector Friedrich Wilhelm von Brandenburg (1620–1688) and his family brandenburg.museum-digital.de.
52. ↑ It served as a sack, as an undergarment, as a bed sheet . In: Young Freedom . June 19, 2009 ( jungefreiheit.de - archive).
53. ↑ Apotheosis of the "great Elector" Friedrich Wilhelm (1682) germanhistorydocs.ghi-dc.org.
54. ^ Lieke Janssen: Nederlandse bloemstillevenschilders in Berlijn; Nederlandse Hofkunstenaars in the service of keurvorst Friedrich Wilhelm van Brandenburg (1620–1688) . S. 51 ( academia.edu - university publication ).
55. ↑ Björn Ahlhelm, Carola Aglaia Zimmermann: Grunewald hunting lodge . Ed .: Foundation Prussian Palaces and Gardens Berlin-Brandenburg (=  Royal Palaces and Gardens in Berlin ). Deutscher Kunstverlag, Berlin / Munich 2015, ISBN 978-3-422-04033-5 , pp. 42 f .