References Lukas Friedrich Behaim. Letter to Augustin Haimbl . November 20/30, 1627 [published in Ref. Bayersdorfer 1910], states that he now has access to a painting that Haimbl had seen in copy at Behaim's house in Nuremburg, probably this picture.Inventarium der gemalten und anderen Stuckhen, auch vonemmen sachen, so auf der Cammer Galerie zuefünden seind . [1627–30], addendum, no. 18/65 [Bayerisches Hauptstaatsarchiv, Munich, HR I, 24/67/2; published in Ref. Diemer 1980], as "St. Anna vom Albrecht Dürer Anno 1519 gemalt, ist im liecht hoch 2 Schuech 1 Zoll, in die braitte aber 1 Schuech 8 Zoll, ist zue ruckh gezaichnet mit No. 18, ist etwas Zweifel ob es durchauß von deß Düerers handt".Letter . April 17, 1628 [published in Ref. Bayersdorfer 1910], notes that the subject of the painting mentioned by Behaim [see Ref. 1627] is Saint Anne, probably this picture.Letter to Wiguleus Widmann . March 20/30, 1630 [published in Ref. Grote 1969], states that Lienhardt [Leonhard] Tucher owned the painting and considered it to be by Dürer.Letter to Wiguleus Widmann . January 22, 1630 [published in Ref. Bayersdorfer 1910], informs Widmann that it then belonged to a Nuremberg wine merchant.Beschreibung der Churfürstlichen Bildergallerie in Schleisheim . Munich, 1775, p. 38, no. 137, as "Die heilige Anna wie eine Nonne gekleidet. Maria mit dem Kinde Jesu sitzt zu ihren Füßen. Auf Holz 1 Fuß 4 Zoll hoch, 11 1/2 Zoll breit," by Dürer.Beschreibung der Churpfalzbaierischen Gemälde-Sammlungen zu München und zu Schleißheim . Munich, 1810, vol. 3, p. 35, no. 1535, as "Die heilige Anna und das schlafende Jesuskind".Albrecht Dürer und sein Zeitalter . Leipzig, 1819, p. 96, as "Die heilige Anna und das schlafende Jesuskind. Halbe figuren in Lebensgrösse. Auf Holz. Höhe 4 Fuss 3 Zoll, Breite 3 Fuss 10 Zoll," among works by Dürer at Schleissheim and Lustheim.Das Leben une die Werke Albrecht Dürer's . 2, part 1, Bamberg, 1827, p. 195, probably based on Mannlich [see Ref. 1810], lists it as a work by Dürer at Schleissheim, and the smaller version (p. 197) also at Schleissheim as a copy after him.Verzeichniss der Gemälde in der königlich bayerischen Gallerie zu Schleissheim . Munich, 1831, p. 25, no. 136, as "Maria, die heilige Anna und das schlafende Jesuskind.—Halbe Fig. in Lebensgröfse auf Holz. H. 1. 10. 3. B. 1. 6. 6.".Allgemeine Zeitung no. 53 (1854) [see Ref. Entres 1854, pp. 12–13], reports on its restoration by Anton Deschler in Augsburg.Die heilige Anna, Maria, und das Jesuskind von Albrecht Dürer . Munich, 1854, pp. 1–22.Deutsches Kunstblatt 5 (April 27, 1854), p. 152, praises it as an authentic Dürer.Deutsches Kunstblatt 5 (July 13, 1854), pp. 251–52 [reprinted in Neue Münchener Zeitung (July 26, 1854), pp. 1924–25], rebuts Waagen's assertion [see Ref. 1854, June 8] that the work is not by Dürer, stating that he has obtained the measurements of the figures in the Berlin rubbing and that they match those of the MMA picture exactly.Letter to or written statement for G. F. Waagen . October 18, 1854, calls it nothing more than a copy.Neue Münchener Zeitung (July 18, 1854), p. 1837, summarizes the attribution debate between Förster and Waagen [see Refs. 1854].Neue Münchener Zeitung no. 57 (March 8, 1854), p. 524, "mehrere Historien-Maler und Kunstfreunde" ["several history painters and lovers of art"] praise Entres for recognizing it as a Dürer and saving it from loss.Neueste Nachrichten aus dem Gebiete der Politik 7 (July 19, 1854), p. 2452, summarizes the attribution debate between Förster and Waagen [see Refs. 1854].Neueste Nachrichten aus dem Gebiete der Politik 7 (February 5, 1854), p. 409, notes that Kings Max and Ludwig of Bavaria pay great attention to it on their visit to the Entres gallery.Deutsches Kunstblatt 5 (June 8, 1854), p. 203, attacks Förster's attribution [see Ref. Förster 1854, April 27] to Dürer on the basis of style and execution, and calls it a copy from the second half of the sixteenth century; mentions a rubbed transfer [now lost] in a brown medium in the Berlin Kupferstichkabinett, which shows the same composition in reverse, but is more gracefully drawn than the MMA work, noting also that in the transfer the figures are life-size, but are much smaller in the painting; believes the Berlin transfer to have been made after a lost original, larger than the MMA painting, by Dürer.Deutsches Kunstblatt 5 (December 7, 1854), p. 437, rejects the attribution to Dürer and reports the opinion of Mündler [see Ref. Mündler 1854].Anzeiger für Kunde der deutschen Vorzeit , n.s., 4 (January 1857), cols. 11–12, concludes that it is a copy by a talented contemporary, or perhaps slightly later, imitator of Dürer.Leben und Wirken Albrecht Dürer's . Nördlingen, Germany, 1860, pp. 400–401, mentions its controversial authenticity; states that Elector Maximilian I acquired it from a Nuremberg wine merchant named Rößler.Geschichte der bildenden Künste im Königreich Bayern . Munich, 1862, p. 624 n. 2.Organ für christliche Kunst 17 (December 15, 1867), p. 286, reports its sale to Jean de Couriss; claims that the Virgin and Saint Anne are portraits of Clara Pirkheimer, daughter of Wilibald Pirkheimer, and that the child is Dürer's son.Dürer: Geschichte seines Lebens und seiner Kunst . Leipzig, 1876, pp. 384–85, cautions that in doubting Dürer's authorship, Waagen [see Ref. 1854] and Mündler [according to Thausing, an "oral opinion," that probably refers to Ref. Mündler 1854] failed to take into account the general decline in the quality of Dürer's style during this period.Albert Dürer et ses dessins . Paris, 1882, p. 173, states that a 1519 sketch of the head of Saint Anne (Albertina, Vienna) is a study for this picture; erroneously states that Prestel made a print after this work.Dürer: Geschichte seines Lebens und seiner Kunst . 2nd ed. [1st ed., 1876]. Leipzig, 1884, vol. 2, pp. 135–36.Kurfürst Maximilian I. von Bayern als Gemäldesammler . Munich, 1892, pp. 17, 44, publishes the inventory of Maximilian I, claiming that it dates from 1628 [this is either erroneous dating, as Maximilian acquired the MMA painting in 1630, or the inventory was begun in 1628 and added to later]; incorrectly assumes it came from the Imhoff collection.Albrecht Dürer . London, [1902], pp. 203, 259, mentions that the painting is in Odessa, but misidentifies it as the "Virgin and Child of the Pink".Repertorium für Kunstwissenschaft 29 (1906), p. 587, regards it as the best version of Dürer's Anna Selbdritt composition; notes its location as Kiev.Geschichte des Dürerschen Marienbildes . Leipzig, 1906, p. 128 n. 2.Der Cicerone 1, no. 24 (1909), pp. 779–80, as the original by Dürer after which many copies were made.Zeitschrift für bildende Kunst , n.s., 21 (1910), pp. 142, 144–47, publishes the letters and archive entries relative to the Elector Maximilian's purchase of the painting, establishing that it was in the Tucher collection in 1628.Zeitschrift für bildende Kunst , n.s., 21 (1910), pp. 52–56, ill. opp. p. 49, considers it by Dürer, gives the history of its sale from Schleissheim, and relates the controversy about its authenticity.New York Times (December 31, 1911), p. SM4.Christliches Kunstblatt 53 (March 1911), pp. 76–77, as unquestionably genuine.Letter to Duveen . December 23, 1911, as the original by Dürer, of which there are several copies.Metropolitan Museum of Art Bulletin 8 (November 1913), pp. 236–37, ill.Handbook of the Benjamin Altman Collection . New York, 1914, pp. 50–52, no. 32.in A Catalogue of the Paintings at Doughty House, Richmond, & Elsewhere in the Collection of Sir Frederick Cook, Bt., visconde de Monserrate . 3, London, 1915, pp. 115–16.Zeitschrift für bildende Kunst , n.s., 26 (1915), p. 76, ill. p. 73 (detail), ascribes it to Dürer, including it in a study of a number of paintings in which Dürer used his wife Agnes as a model.Albrecht Dürer . Leipzig, 1916, p. 90, pl. 64.Répertoire des peintures datées . 1, Brussels, 1920, p. 79.Albrecht Dürer . Leipzig, 1921, pp. 170–71, ill.Gazette des beaux-arts , 5th ser., 8 (September–October 1923), p. 195, accepts the attribution to Dürer, comparing it with several other works painted at this time.Albert Dürer . Paris, 1927, pp. 126, 173.Handbook of the Benjamin Altman Collection . 2nd ed. New York, 1928, pp. 30–32, no. 7.Albrecht Dürer, sein Leben und seine künstlerische Entwickelung . 1, Berlin, 1928, p. 435.Dürer, des Meisters Gemälde Kupferstiche und Holzschnitte . Stuttgart, [1928], pp. 444, 451, ill. p. 64.Albrecht Dürer, sein Leben und seine künstlerische Entwicklung . 2, Berlin, 1931, p. 591, no. 1043.Anzeiger des germanischen Nationalmuseums (1932–33), pp. 92, 94 [reprinted in English in Art Bulletin 15 (September 1933), pp. 263–64, fig. 18], accepts it as by Dürer, and finds the date believable.Albrecht Dürer: Sein Leben und seine Kunst . Leipzig, [1933], p. 138, pl. 149.Meisterwerke europäischer Malerei in Amerika . Vienna, 1935, p. 338, pl. 201 [English ed., "Masterpieces of European Painting in America," New York, 1939, p. 323, pl. 201].Ältere Pinakothek München: Amtlicher Katalog . 18th ed. Munich, 1936, p. XLIII.A Catalogue of German Paintings of the Middle Ages and Renaissance in American Collections . Cambridge, Mass., 1936, p. 55, no. 204, pl. XXXIX, as by Dürer.Kritisches Verzeichnis der Werke Albrecht Dürers . part 1, 2, Basel, 1937, pp. 137–38, no. 736, ill. p. 298, as by Dürer, but state that Deschler's restoration so severely compromised the picture that all that is left of Dürer's work are composition and type.Der Türmer: Deutsche Monatshefte 39 (January 1937), p. 298, ill . opp. p. 297.Die Zeichnungen Albrecht Dürers . 3, Berlin, 1938, pp. 26, 38, under no. 574, publishes the Albertina drawing of the head of Saint Anne.Duveen Pictures in Public Collections of America . New York, 1941, unpaginated, no. 218, ill.The Enjoyment of Art in America . Philadelphia, 1942, p. 505, pl. 461.Albrecht Dürer . Princeton, 1943, vol. 1, p. 201; vol. 2, p. 11, no. 36, as by Dürer, observing in it the tendency towards simplification that characterizes Dürer's engravings and paintings of the period.The Metropolitan Museum of Art: A Catalogue of Early Flemish, Dutch and German Paintings . New York, 1947, pp. 186–88, ill., erroneously as transferred to canvas.Art Treasures of the Metropolitan: A Selection from the European and Asiatic Collections of The Metropolitan Museum of Art . Exh. cat., The Metropolitan Museum of Art. New York, 1952, p. 227, no. 103, colorpl. 103.Albrecht Dürer: Der gegenwärtige Stand der Forschung . Stuttgart, 1953, p. 224, considers it representative of Dürer's late style in its greatest purity.Anzeiger des Germanischen National-Museums 1940 bis 1953 (April 1954), pp. 157–58, 161, 168–69, discusses possible reasons for Maximilian's declining to purchase it in 1628 and his subsequent acquisition of it in 1630; replaces Rößlen [see Ref. Bayersdorfer 1910; Ref. Becker 1857 refers to the seller as Rößler] in the provenance with Furtenbach.Metropolitan Museum of Art Bulletin 12, part 2 (January 1954), ill. p. 19.Albrecht Dürer: Leben und Werk . Berlin, 1957, pp. 261–62, pl. 131, as a new interpretation of an Andachtsbild.Die Tucher: Bildnis einer Patrizierfamilie . Munich, 1961, p. 78, states that it may have been acquired by the Tucher family while Dürer was still alive.Alte Pinakothek München: Katalog . 2, Munich, 1963, p. 24.Dürer: Biographical and Critical Study . Geneva, 1965, pp. 105–7, ill., as commissioned by Linhart [Leonhard] Tucher.German Painting from Dürer to Holbein . Geneva, 1966, p. 136.Albrecht Dürer . New York, [1966], pp. 26–27, 122, ill. p. 123 (color), regards it as "one of Dürer's supreme masterworks . . . in immaculate condition".The Complete Paintings of Dürer . New York, 1968, p. 110, no. 156, ill. p. 110 and colorpls. LI–LIII (overall and details).in The Complete Paintings of Dürer . New York, 1968, p. 7.Anzeiger des Germanischen Nationalmuseums 1969 (1969), pp. 75–88, fig. 1, publishes the 1604 inventory of Paul IV Tucher, which cites a painting by Dürer, "Item ein gemalte Tafel von dess Dürrers Handt Angeschlagen umb 24 Gulden daraus gebuhrt dem Herrn seligen der halbe und der andere halbe Thail seinem Herrn Bruder Herdegen Tucher thut hierher 12 fl.," probably this picture;
quotes Ref. Behaim 1630, erroneously stating that it proves that the picture was commissioned by Linhart [Leonhard] Tucher from Dürer.Painting and Sculpture in Germany and the Netherlands 1500 to 1600 . Baltimore, 1969, p. 82.Merchants and Masterpieces: The Story of The Metropolitan Museum of Art . New York, 1970, p. 171 [rev., enl. ed., 1989].Albrecht Dürer: Das Malerische Werk . Berlin, 1971, pp. 37, 47, 52, 90, 97–98, 102, 254–55, no. 147, pl. 175.Dürer heute . Munich, 1971, pp. 80, 94 [English ed., Geyso, Bongard, and Mende, "Dürer Today," Munich, 1978, pp. 91, 106].Connaissance des arts no. 227 (January 1971), pp. 60–61, ill. (color).Die Dürer Zeichnungen der Albertina . Salzburg, 1971, p. 366, ill., discusses it in relation to the 1519 preliminary drawing for Saint Anne in the Albertina [see Notes], with Agnes Dürer, not yet fifty years old, as the model.Dürer . Milan, 1976, pp. 142, 186, no. 58, ill. pp. 143–45 (color, overall and details) and 186 [English ed., "The Hidden Dürer," Chicago, 1978].Dürer . Woodbury, N.Y., 1979, p. 52, unpaginated catalogue section, colorpl. 35, relates the tone of the picture to the "Madonna of the Pear" in the Kunsthistorisches Museum, Vienna.Altdeutsche Malerei . Munich, 1979, p. 97, ill. p. 96 (color).Dürer: Werk und Wirkung . Stuttgart, 1980, p. 195, no. 184, ill. p. 197 (color).in Quellen und Studien zur Kunstpolitik der Wittelsbacher vom 16. bis zum 18. Jahrhundert . Munich, 1980, p. 227, publish a 1642 inventory of the collection of Elector Maximilian I.in Quellen und Studien zur Kunstpolitik der Wittelsbacher vom 16. bis zum 18. Jahrhundert . Munich, 1980, pp. 139, 150, 164, ill.Münchner Jahrbuch der bildenden Kunst , 3rd ser., 31 (1980), pp. 133, 152 nn. 43–44.The Metropolitan Museum of Art . New York, 1980, pp. 260, 263, fig. 471 (color).Dürer . Königstein, 1981, pp. 20, 22, 33, ill. p. 32 (color).Strossmayerova Galerija Starih Majstora Jugoslavenske Akademije Znanosti i Umjetnosti . Zagreb, 1982, p. 292, under no. 139.in Gothic and Renaissance Art in Nuremberg, 1300–1550 . Exh. cat., The Metropolitan Museum of Art. New York, 1986, pp. 326–28, no. 144, ill. (color), and color detail on jacket cover [German ed., "Nürnberg 1300–1550: Kunst der Gotik und Renaissance"], erroneously describes the support as canvas, and considers the monogram and date as genuine.Albrecht Dürer . Berlin, 1986, unpaginated, no. 33, ill. (color).in The Metropolitan Museum of Art: The Renaissance in the North . New York, 1987, pp. 14, 97, colorpl. 63.Albrecht Dürer: Das Malerische Werk . rev. ed. [first ed., 1971]. Berlin, 1991, text vol., pp. 35, 45, 52, 71–72, 91–92, 99–100, 103, 259–61, no. 147; plate vol., colorpl. 174.Bayerische Staatsgemäldesammlungen Jahresbericht (1996), pp. 24–25, fig. 8.in Allgemeines Künstlerlexikon: die bildenden Künstler aller Zeiten und Völker . 30, Munich, 2001, p. 301.Meister oder Schüler?: Berühmte Werke auf dem Prüfstand . Stuttgart, 2002, pp. 52, 54, figs. 84–85, 87 (color, overall and details), attributes it to the Dürer workshop, possibly to George Pencz, because of the high viscosity of the paint, the lack of emphasis on line, the Manneristic shadows and highlights, the emphasis on modeling with light, the plastic quality of the whole, the uncharacteristic form of the monogram and date, and the unanatomical quality of the Child's head.in Albrecht Dürer . Exh. cat., Albertina, Vienna. Ostfildern-Ruit, Germany, 2003, pp. 478, 480, under no. 167, ill.Duveen: A Life in Art . New York, 2004, p. 430.Da budet pravda: istoriia dvorianskogo roda Kurisov, vozrozhdenie iz zabveniia [transliterated Russian title, which in English translates as "Let There be Truth: History of the Noble Family of Kuris, Rescue from Oblivion"] . Odessa, 2005, pp. 101 (no. 12), 290, provides ownership history between Entres and Duveen, by way of the Kuris family [see Ex collections] and reprints parts of catalogues for 1884 and 1888 Odessa exhibitions which included this picture.Letter to The Metropolitan Museum of Art . April 3, 2006, reports that the support is made of linden wood, later glued to plywood.Alte Pinakothek: Altdeutsche und altniederländische Malerei . Ostfildern-Ruit, Germany, 2006, p. 47, fig. 24.
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