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European Art
Artist: Peter Strüb the Younger (Master of Messkirch), German, ca. 1500–1543

Saint Gangolf

ca. 1535–40

Oil on panel

66.8 × 20.8 × 2.5 cm (26 5/16 × 8 3/16 × 1 in.)
Gift of Walter Bareiss, B.S. 1940S
1954.43.1
Status: 
On view
Culture: 
German
Period: 
16th century
Classification: 
Paintings
Provenance: 

Stadtpfarrkirche St. Martin, Messkirch, Baden-Württemberg, Germany [see note 1]. Joseph Otto Entres (1804–1870), Munich; by inheritance to Dr. Franz Ludwig von Baumann (1846–1915), Donaueschingen, the late 1880s [see note 2]. Professor Schleibner, Munich. M. Orterer Collection, Munich. with Julius Böhler, Munich, by 1918; sold to the Bum Collection (Fabrikant Bum), Cottbus, Germany, later Terrebonne, Montreal, by 1922, and by descent; sale, Parke-Bernet Galleries, New York, 5 November 1942, lot 45; Walter Bareiss (1919 –2007), New York, by 1954; given to the Yale University Art Gallery, New Haven, Conn., 1954

Note 1: Saint Gangolf oginally formed part of the side altar of the church, alongside Saint Gregory the Great (YUAG 1954.43.1). The panels were either sold in the late 17th century or removed during the baroque renovations of the church in 1772

Note 2: Dr. von Baumann was married to the daughter of Joseph Entres, Silvanie von Baumann (née Entres) (1848–1924), in 1973

Bibliography: 

Heinrich Feurstein, Der Meister von Messkirch im Lichte der letzten Funde und Forschungen (Freiburg Im Breisgau, Germany: Lais Systems GmbH, 1936), 146, no. 74, fig. 56.

Edzard Baumann, “Two Panels by the Master of Messkirch from the Collegiate Church of Messkirch,” Yale Art Gallery Bulletin 27 (April, 1962): 49–54, fig. 1.

Katherine Neilson and Andrew Carnduff Ritchie, Selected Paintings and Sculpture from the Yale University Art Gallery (New Haven, Conn.: Yale University Press, 1972), no. 7, ill.

Anna Moraht-Fromm and Hans Westhoff, Der Meister von Messkirch: Forschungen zur südwestdeutschen Malerei des 16. Jahrhunderts (Ulm, Germany: Süddeutsche Verlagsgesellschaft, 1997), 178, 181–83, fig. 84a.

Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of such records is ongoing.