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Oak
German School
German School, dated 1521 (museum attribution: The Master of 1521)
12. The Presentation of the Virgin in the Temple, Dijon, Musée des Beaux-Arts (Inv. no. C.A. 21)
1000 × 830 × 8 mm
Sample 463. Vertical grain. Good condition. Panel cradled.
Attributed to the German School, end of the 15th century (museum attribution: Spanish School, 15th century)
13. Portraits of Two Saints, one young, the other old, waist up (Sts Cosima and Damian in the museum catalogue), Dijon, Museum (Inv. no. 2080)
320 × 260 × 15 mm
Samples 459, 459A. Vertical grain. Some open insect channels. One board. Panel not reinforced.
Cologne
Workshop of Stephan Lochner, 1450
14. The Virgin and Child on a Throne, Surrounded by Saints and Angels, Munich, Alte Pinakothek (No. W.A.F. 500), from the Benedictine Convent Mariengarten, Cologne
Diameter 853 mm; thickness 24 mm
Sample 576. Very good condition. Five boards. Cloth placed over two splits. Panel not reinforced. A ground layer and light varnish cover the surface.
The Master of the Altarpiece of Aix-La-Chapelle, end of the 15th century
15. The Virgin and Child with Angels, Munich, Alte Pinakothek (No. 10756)
537 × 470 × 6 mm (least thickness)
Visual examination. Vertical grain. Very good condition. Two boards. Edges of the support are bevelled. The surface of the panel has cut marks over its entire width. Lightly stained surface.
The Master of the Altarpiece of Aix-La-Chapelle, ca. 1495
16. Hans von Melem, Patrician of Frankfurt, Munich, Alte Pinakothek (No. W.A.F. 718)
543 × 343 × 4–5mm (arched panel)
Visual examination. Vertical grain. Very good condition. One board (?). Edges of the panel are bevelled. Support not reinforced. Wood is lightly stained .
The Master of the Altarpiece of Heisterbach, second quarter of the 15th century
17. The Annunciation, one panel of the Altarpiece of Heisterbach, Munich, Alte Pinakothek (Inv. no. 1072)
990 × 750 × 9 mm.
Visual examination. Vertical grain. Good condition. Cradled panel.
The Master of the Holy Kinship, 15th century
18. The Altarpiece of the Seven Joys of the Virgin: The Presentation in the Temple; The Adoration of the Magi; Christ Appearing to his Mother, central part, one panel, Paris, Musée du Louvre (No. 2738, p. 67. Inv. no. R.F. 2045). (The wings are in the Germanisches Nationalmuseum Nuremberg and Schloss Schleissheim, near Munich)
1250 × 1810 × 7 mm
Visual examination. Vertical grain. Good condition. Six unequal boards. Strips of cloth (5–8 mm) and butterfly joints. Crudely cut. Edges of the panel are bevelled. Bare wood.
The Master of the Holy Kinship, 1480–1510
19. The Circumcision of Christ, central panel of an altarpiece, Munich, Alte Pinakothek (No. W.A.F. 652), from the church of St Columba, Cologne
1023 × 1960 × 8–9 mm (uneven thickness)
Sample 577. Vertical grain. Very good condition. Twelve boards. Seven strips of cloth over the joins of the boards. Black staining on the surface.
The Master of the Life of the Virgin, 1460–1480
20–25. The Altarpiece of Mary, seven panels, Munich, Alte Pinakothek (Nos. W.A.F. 618–623), from the church of St Ursula, Cologne
Altarpiece open in the original position (front view):
20. Upper register of outer left wing: The Meeting of St Joachim and St Anne at the Golden Gate (No. W.A.F. 618)
853 × 1065 × 12 mm
Sample 574. Horizontal grain. Good condition. Two boards. Panel painted on both sides. On the reverse: upper part of The Crucifixion.
21. Lower register of outer left wing: The Annunciation (No. W.A.F. 622)
847 × 1050 × 10–14 mm
Sample 575. This panel is similar to 20. On the reverse: lower part of The Crucifixion.
22. Lower register of outer right wing: The Assumption of the Virgin (No. W.A.F. 624). (The upper register of this wing, which shows The Marriage of the Virgin (No. W.A.F. 621), was not examined.)
Overall dimensions 1710 × 1060 mm (thickness not measurable; very thick).
Sample 578.Horizontal grain. Good condition. Six boards. The registers are held together with an iron bar. Panel painted on both sides. On the reverse: The Coronation of the Virgin. Grain of the wood visible through the paint layer on the reverse. Support not reinforced.
23. Upper register of the inner right wing: Mary’s Visit to the Temple (No. W.A.F. 620). The lower register (in the National Gallery, London), which shows The Presentation in the Temple (No. 706), was not examined.
850 × 1090 × 7 mm
Visual examination. Vertical grain. Good condition. Five boards. Cradled panel. Wood varnished.
24. Upper register of the inner left wing: The Birth of the Virgin (No. W.A.F. 619)
854 × 1095 × 10 mm
Visual examination. Vertical grain. Good condition. Shouldering on the edges of the panel. Cradle.
25. Lower register of the inner left wing: The Visitation (No. W.A.F. 623)
850 × 1100 × 6 mm (side), 8 mm (base)
Visual examination. Vertical grain. Good condition. Five or six boards (?). Panel cradled. Wood lightly varnished.
The Master of the Life of the Virgin, after 1466
26. Christ on the Cross between the Virgin and St Ursula, St John the Evangelist and St Hippolytus, Munich, Alte Pinakothek (No. W.A.F. 629), rom the funeral chapel of Canon Bernard of Reyda, at the church of St Ursula, Cologne
885 × 1028 × 9 mm (uneven thickness)
Visual examination. Horizontal grain. Good condition. Six boards. Roughly cut. Varnished wood. Yellow lettering on the reverse.
The Master of the Life of the Virgin, 1460–1480
27. Portrait of an Architect, Munich, Alte Pinakothek (No. W.A.F. 612)
375 × 310 × 5 mm
Visual examination. Vertical grain. Very good condition. One board.
Cologne School, ca. 1500
28. The Legend of St Anthony and St Paul the Hermit, Munich, Alte Pinakothek (No. W.A.F. 452), from the Antonine church, Cologne
1078 × 1899 × 15 mm
Visual examination. Vertical grain. Nine boards. Roughly cut. Strips of cloth along the central join. Split reinforced with recent pieces of wood. Thick black paint covers the surface.
The Master of the Altarpiece of St Bartholomew, end of the 15th century
29–31. The Altarpiece of St Bartholomew, triptych, Munich, Alte Pinakothek (Nos. 11863–11865), from the church of St Columba, Cologne
29. Central panel: St Bartholomew between St Agnes and St Cecilia (No. 11863; formerly No. H.G. 579-48)
1285 × 1605 × 11 mm
Visual examination. Vertical grain. Very good condition. Five boards. Traces of cloth on the joins. Panel thinned at the edges. Splits. Support not reinforced. Wood lightly stained.
30. Right wing: St John the Evangelist and St Margaret (No. 11864; formerly No. H.G. 581-50)
1280 × 730 × 8 mm
Visual examination. Vertical grain. Good condition Three boards. Strips of cloth over the board joins. Panel not reinforced. A ground and thick black paint cover the surface.
31. Left wing: St Christine and St James the Minor (No. 11865; formerly No. H.G. 580-49)
1285 × 740 × 8–9 mm
Visual examination. Vertical grain. Fairly good condition. Three boards (?). Split in the centre of the panel. Support not reinforced. A ground layer and thick black paint cover the surface.
The Master of the Altarpiece of St Bartholomew, last quarter of the 15th century
32. St Anne, the Infant Jesus and Mary, a panel from the Altarpiece of St Bartholomew, Munich, Alte Pinakothek (No. 10738)
430 × 303 × 5 mm
Visual examination. Vertical grain. Good condition. One or two boards (?). Edges of the panel have broad bevelling. Support not reinforced. A varnish covers the surface.
The Master of the Altarpiece of St Bartholomew, ca. 1492
33. Portrait of Hans Leyckmann (?), Munich, Alte Pinakothek (No. W.A.F. 733), Wallerstein Collection
350 × 250 mm (thickness not measurable)
Visual examination. Vertical grain. Very good condition. One board. The frame is independent of the panel. Light staining of the wood. Inscription on parchment. Seal.
The Master of the Altarpiece of St Bartholomew, ca. 1505
34. The Descent from the Cross, centre of triptych, Paris, Musée du Louvre (No. 2737, p. 68. Inv. no. 1445; M.R. 812)
2270 mm (centre); 1520 (edges) × 2900 × 10 mm
Visual examination. Vertical grain. Apparent good condition. Cradle in softwood. Paint covers the surface.
The Master of Saint-Séverin, 1500–1515
35. Christ in the Garden of Olives, Munich, Alte Pinakothek (No. W.A.F. 650), Boisserée Collection, from the church of Saint-Séverin, Cologne
1260 × 1050 × 12 mm
Visual examination. Horizontal grain. Very good condition. Five boards. Joints reinforced with pieces of recent wood. Traces of strips of cloth on the joins of the boards. Panel thinned at the edges. Support not reinforced. Bare wood.
The Master of Saint-Séverin, 1500–1515
36. The Lamentation of Christ, Munich, Alte Pinakothek (No. W.A.F. 650), Boisserée Collection, from the church of Saint-Séverin, Cologne
1240 × 850 × 16 mm
Sample 571. Four boards. Strips of cloth on the joins of the boards. Evidence of butterfly joints. Panel thinned at the edges.
Anton Woensam called de Worms, dated 1520
37. St Stephen and St Maurice, left wing of an altarpiece, Munich, Alte Pinakothek (No. 1475), probably from the church of St Gereon, Cologne
1350 × 1030 mm (thickness not measurable)
Visual examination. Vertical grain. Good condition.
Barthel Bruyn the Elder, 1545
38. Portrait of Philippe Gail at 49 years, with his Sons, wing of triptych, Paris, Musée du Louvre (No. 2701A, p. 71. Inv. no. R.F. 1771) (paired with 39)
1080 × 610 × 10–12 mm
Visual examination. Vertical grain. Very good condition. Two boards. Panel thinned at the edges. Bare wood. Support not reinforced.
Barthel Bruyn the Elder, 1545
39. Portrait of the Second Wife of Phillippe Gail at the age of 37, with her Daughters, wing of triptych, Paris, Musée du Louvre (No. 2701B, p. 69. Inv. no. R.F. 1792) (paired with 38)
1080 × 610 × 10–12 mm
Visual examination. Vertical grain. Very good condition. One board. 50 mm strip of cloth. Panel thinned at the edges. One split from bottom to top. Bare wood. Panel not reinforced.
Barthel Bruyn the Elder, 16th century
40–42. Triptych of the Crucifixion, Munich, Alte Pinakothek (No. W.A.F. 89–90), probably from the Carthusian church, Cologne
40. Central panel: The Crucifixion with the Virgin, St John the Evangelist, Mary Magdalene, St Peter, St Barbara and Three Donors (No. W.A.F. 89)
850 × 725 × 10 mm
Visual examination. Vertical grain. Very good condition. Four boards. Panel thinned to 5 mm at the edges. Support not reinforced. Pieces of recent wood on two joins of the boards at the base of the panel. Surface lightly stained.
41. Right wing: St Agnes and Donor (No. W.A.F. 90)
975 × 325 mm (thickness not measurable)
Visual examination. Vertical grain. Very good condition. Paint covers the surface.
42. Left wing: Holy Bishop and Donor (No. W.A.F. 91)
975 × 325 mm (thickness not measurable)
Visual examination. This panel is similar to 41. Excellent condition.
Lower Rhine
Workshops of the Netherlands and the Lower Rhine, ca. 1390–1400, previously attributed to the Paris School
43–46. Polyptych, called the Cardon Polyptych. Four panels representing Scenes from the Life of the Virgin and the Infancy of Christ, belonging to a small altar. At the centre, a statue of the Virgin, in walnut (sample 353A); at the top, a carved crown in oak (sample 1143E) surmounts a steeple in walnut (sample 1143F), Paris, Musée du Louvre (No. 3157, p. 273. Inv. no. R.F. 2314)
43. Outer left wing
460 × 85 × 14 mm (including the frame)
Samples 353B; 1143A. Vertical grain. Good condition. Panel painted on both sides.
44. Inner left wing
450 × 125 × 14 mm (including the frame)
Sample 353C. This panel is similar to 43.
45. Inner right wing
445 × 125 × 14 mm (including the frame)
Samples 353F; 1143D. This panel is similar to 44.
46. Outer right wing
Sample 353E. This panel is similar to 45.
Attributed to the School of the Lower Rhine, ca. 1440, previously attributed to the Northern French School (museum attribution: German School, 15th century)
47. The Miracle of St Vou (or The Legend of the Troubadour), Paris, Musée du Louvre (Inv. no. R.F. 2556A)
203 × 126 × 2 mm
Visual examination. Vertical grain. A ground and paint layer cover the surface.
Upper Rhine
School of the Upper Rhine, ca. 1430–1440
48. St Jerome and the Lion, Munich, Alte Pinakothek (No. 5317)
259 × 305 × 9 mm
Sample 489. Horizontal grain. Good condition. Two boards. Bare wood. Panel not reinforced.
Konrad Witz, ca. 1435
49. Altarpiece from Basel: Tiburtine Sibyl Prophesying the Advent of Christ to Emperor Augustus, Dijon, Musée de Beaux-Arts (Inv. no. D.161)
815 × 101 × 10–14 mm
Sample 1294. Vertical grain. Good condition. Painted on both sides. On the reverse: A Bishop. When taken apart, the construction of the boards with dowels can be seen.
Swabia
Bernhard Strigel, dated 1520
50–51. The Guardians of the Tomb of Christ, two panels, Munich, Pinakothek (Nos. 10067, 10068).
50. Sleeping Guard Armed with a Mace (No. 10067)
485 × 459 × 8 mm
Sample 542. Vertical grain. Good condition. One board. Panel not reinforced. Bare wood.
51. Sleeping Guard Armed with a Crossbow (No. 10068)
483 × 457 × 10 mm
Sample 541. Vertical grain. Good condition. Two boards. Panel not reinforced. Bare wood.
Hans Holbein the Younger, dated 1527
52. Portrait of William Warham, Paris, Musée du Louvre (No. 2714, p. 74. Inv. no. 1344)
790 × 660 × 4 mm
Sample 279. Vertical grain. Good condition. Cradled panel. Brown paint covers the surface.
Westphalia
Derik Baegert, end of the 15th century
53. Triptych of the Holy Cross, central panel: The Crucifixion, Munich, Alte Pinakothek (No. W.A. F. 223), from the church of Saint-Laurent, Cologne
1285 × 1680 × 10 mm
Sample 570. Vertical grain. Extreme insect damage. Seven boards. Edges of the panel are thinned. Brown paint covers the surface. Support not reinforced.
Johann Koerbecke, second half of the 15th century
54. The Vision of St Bernard, Munich, Alte Pinakothek (No. 10644)
970 × 770 (without edge strip) × 17 mm (including auxiliary support)
Sample 569. Vertical grain. One board with 7 mm thick auxiliary panel. Wooden strip on the edge of the left side.
English School
English School, 13th century
55. The Life of the Virgin, Paris, Musée de Cluny (No. 1664, Inv. no. C.L. 77.26)
930 × 3000 mm (with frame – thickness not measurable)
Samples 360 A–T. Vertical grain. Apparent good condition. Twenty boards. Assembled with butt joints.
Attributed to Luis de Morales, 16th century
56. Christ Carrying the Cross, Paris, Musée du Louvre (No. 1707, p. 159. Inv. no. 926)
924 × 684 × 3 mm
Visual examination. Vertical grain. Good condition. Cradle in softwood.
Aragon
School of Miguel Ximenez, 15th century
57–60. The Legend of St Barbara and the Ears of Corn, four panels (the wings have been split into two), Paris, Musée des Arts Décoratifs (Inv. nos. P.E. 128–130)
57. St Barbara and the Ears of Corn (Inv. no. P.E. 128)
933 × 331 (including strip) × 8 mm
Samples 978 A–D; 1522. Vertical grain. Good condition. One board (?). Auxiliary panel in oak (sample 978B). Wooden strips in oak (sample 978D) measuring 13–14 mm in width on the lateral edges. Cradle in spruce (sample 978C).
58. St Michael (Inv. no. P.E. 131)
934 × 333 (including edge strips) × 9 mm (total thickness)
Sample 1525.Vertical grain. Good condition. One board (?) with auxiliary panel. 12 mm wide wooden strips on the lateral edges. Cradle.
59. St Barbara with a Monk (Inv. no. P.E. 129)
933 × 334 (with edge strips) × 9 mm
Sample 1523. Vertical grain. Good condition. One board (?). Auxiliary panel. Wooden strips 13–14 mm in width on the edges of the panel. Cradle.
60. St George (Inv. no. P.E. 130)
934 × 333 (including edge strips) × 9 mm (total thickness)
Sample 1524. Vertical grain. Good condition. One board (?). Panel with auxiliary support panel. Wooden strips 13–14 mm in width on the edges of the panel. Cradle.
Barcelona
Lluís Dalmau, 1443–1445
61. Altarpiece of the Virgin of the Consellers, Barcelona, Museu Nacional d’Art de Catalunya (No. 15,938), from the chapel of the town hall, Barcelona
2750 × 2750 × 20 mm (without frame)
Sample 801. Vertical grain. Good condition. Thirteen panels assembled with deeply cut half-lap joints. Five cross-grain cross-bars are set into and attached to the side members of the secondary support with dovetail joints.
Catalonia
Attributed to the Catalan School, ca. 1150
62–63. The Virgin Mary and the Three Kings, polyptych, Barcelona, Museu Nacional d’Art de Catalunya (No. 35,704). Six panels, carved and painted, held within the same frame. The four panels in the middle are made of poplar (see 478–481)
62. Left panel (exterior)
700 × 200 × 14 mm
Sample 721A. Vertical grain. One board. Overall insect damage. In places covered with textile. The surface is covered with a ground and decorative paint depicting black arabesques on a beige background.
63. Right panel (exterior)
700 × 200 mm (thickness not measured)
Sample 721F. Vertical grain. Overall insect damage. One board. Reverse partially covered with textile. A layer of ground and decorative paint depicting black arabesques on a cream background are present on the surface.
Bernat Martorell, previously attributed to the Master of St George, first half of the 15th century (museum attribution: Catalan School, 15th century)
64–67. The Legend of St George, four panels, Paris, Musée du Louvre (Nos. 1741–1744, p. 168. Inv. nos. R.F. 1570–1573)
64. The Judgement of St George (No. 1741)
1070 × 530–536 × 10 mm
Sample 1518. (Soft oak) Vertical grain. Very good condition. Three boards unequal in width measuring from left to right: 96, 270 and 170 mm. Smooth surface of wood. Cradle.
65. St George being Dragged to Torture (No. 1742)
1070 × 515–525 × 10 mm
Sample 1519. Vertical grain. Excellent condition. A few very small insect holes. Three boards of unequal widths measuring left to right: 190, 220 and 105 mm. Smooth surface of wood. Cradle.
66. St George – The Flagellation (No. 1743)
1065 × 530–540 × 10 mm
Sample 1520. Vertical grain. Some open insect channels. Three boards unequal in width measuring left to right: 100, 250 and 190 mm. Smooth surface of wood. Cradle.
67. The Beheading of St George (No. 1744)
1065 × 530 × 540 × 10 mm
Sample 1521. Vertical grain. Good condition, a few insect holes. Three boards of unequal width measuring from left to right: 190 mm, 250 mm, 100 mm. Smooth wooden surface. Cradle.
Flemish School
Jan van Eyck, ca. 1436
68. The Madonna of Chancellor Rolin (The Virgin of Autun), Paris, Musée du Louvre (No. 1986, p. 47. Inv. no. 1271)
660 × 620 mm (thickness not measurable)
Sample 57. Vertical grain. Very good condition. Three boards. Split held together by six dovetail joints. An original marbled paint composed of calcite and tin oxide covers the surface (sample 57B; E 10).
Studio of Albert Bouts, 15th century
69. The Resurrection; St Catherine; Three Donors, one panel, Montpellier, Musée Fabre (No. 811. Inv. no. M.F. 892-4-7)
480 × 310 × 7 mm
Sample 1121. Vertical grain. On the edge of the right side of the panel are two holes of 5 mm in diameter and 110–120 mm in depth, designed to receive a tenon joint – evidence of two-piece assembly.
Thierry Bouts, 15th century
70. Penitent St Jerome, Dijon, Musée des Beaux-Arts (Inv. no. D. 162)
770 × 490 × 6 mm
Sample 466. Vertical grain. Good condition. Split. Panel not reinforced.
Thierry Bouts, ca. 1455–1460
71. The Deposition of Christ, Paris, Musée du Louvre (No. 2196, p. 47. Inv. no. R.F. 1)
680 × 490 × 5 mm
Sample 1237. Vertical grain. Panel cradled.
Thierry Bouts, ca. 1465–1475
72. The Virgin and Child, Paris, Musée du Louvre (No. 2195, p. 50. Inv. no. M.I. 734)
200 × 118 × 5 mm
Visual examination. Vertical grain. Insect damage in the lower part of the panel.
Thierry Bouts, ca. 1472–1475
73. The Nativity, fragment, Paris, Musée du Louvre (No. 1904B, p. 52. Inv. no. R.F. 2622)
202 × 181 mm
Visual examination. Vertical grain. Cradle mainly in oak. Edges of the panel are bevelled.
After Petrus Christus, ca. 1444
74–75. Diptych in book form, two panels, Paris, Musée du Louvre (Inv. no. R.F. 3822)
74. Left wing: St John the Baptist
382 × 232 × 22 mm (including the frame)
Visual examination. Examination of the construction of the panel was impossible due to the thick paint layer that covers it. It emulates the spine of a book.
75. Right wing: The Virgin and Child
382 × 232 × 22 mm (including the frame)
Visual examination. This panel is similar to 74.
Petrus Christus, ca. 1460
76. The Lamentation of Christ, Paris, Musée du Louvre (Inv. no. R.F. 1951-45)
375 × 305 × 5 mm
Visual examination. Vertical grain. Very good condition. Panel cradled.
Juan of Flandes, ca. 1496–1504
77. Jesus and the Samaritan, Paris, Musée du Louvre (Inv. no. R.F. 2557)
235 × 170 × 3–6 mm
Sample 997. Vertical grain. Some insect holes. One board. Cross-grain cross-bars set into a heavy softwood cradle. Three seals, bare wood.
The Master of the Life of St Gudula, 15th century
78. St Catherine and the Philosophers (part of a series of panels devoted to the life of St Géry), Dijon, Musée des Beaux-Arts (Inv. no. 1293)
365 × 300 × 6 mm
Sample 453. Vertical grain. Good condition. Panel reinforced with a cradle.
The Master of Ghent, 1499
79. The Virgin and Child between Two Donors, Paris, Musée du Louvre (No. 998D, p. 49. Inv. no. R.F. 2370)
770 mm (centre); 680 (edges) × 550 × 6 mm
Visual examination. Vertical grain. Excellent condition. Softwood cradle.
Hans Memling, ca. 1470
80. St John the Baptist, Paris, Musée du Louvre (No. 2024, p. 49. Inv. no. 1453; M.N. 47) (paired with 81)
480 × 158 × 2–3 mm
Visual examination. Vertical grain. Very good condition. One board. Three cross-grain cross-bars attached. Saw marks. At the top of the panel there is a red wax seal depicting two lions on either side of a shield surmounted by a crown.
Hans Memling, ca. 1470
81. St Mary Magdalene, Paris, Musée du Louvre (No. 2025, p. 48. Inv. no. 1454; M.N. 48) (paired with 80)
480 × 158 × 2–3 mm
Visual examination. Vertical grain. Very good condition. One board. Three cross-grain cross-bars. Saw marks. At the top of the panel there is a red wax seal, depicting two lions on either side of a shield surmounted by a crown.
Hans Memling, ca. 1470–1475
82. Portrait of an Old Woman, Paris, Musée du Louvre (No. 2028, p. 47. Inv. no. R.F. 1723)
350 × 292 × 4 mm
Sample 335. Vertical grain. Good condition. Thin cradle.
Hans Memling, started before 1488, completed after 1489
83. The Virgin and Child between St James and St Dominic, Presenting the Donors and their Families, known as the Virgin of Jacques Floreins, Paris, Musée du Louvre (No. 2026, p. 170. Inv. no. R.F. 215)
1300 × 1570 × 10 mm
Sample 1511. Visual examination. Horizontal grain. Excellent condition. Five boards. Assembled with dowels: seven dowel holes and fragments of dowels in oak (sample 1511) visible in the board joins. Cradle in oak.
Hans Memling, ca. 1490
84–86. Triptych of the Resurrection, three panels, Paris, Musée du Louvre (No. 2028, p. 50. Inv. nos. M.I. 247–249)
84. Centre: The Resurrection (Inv. no. M.I. 247)
670 × 440 × 10 mm
Sample 427. Vertical grain. Good condition. Two unequal boards. Shoulders on the edges of the four sides.
85. Right wing: The Ascension (Inv. no. M.I. 249)
620 × 188 × 2 mm (edges)
Samples 425 A, B. Vertical grain. Good condition. Auxiliary panel of 3 mm thick spruce (sample 425B).
86. Left wing: The Martyrdom of St Sebastian (Inv. no. M.I. 248)
615 × 190 × 2 mm (edges)
Visual examination. Vertical grain. Good condition. 8 mm thick auxiliary softwood panel.
Flemish or French-Flemish School, 15th century
87. The Virgin and Child, Dijon, Musée des Beaux-Arts (Inv. no. T. 57)
430 × 290 × 12 mm
Sample 443. Vertical grain. Good condition. Identical inscriptions on the front and reverse of the panel: AVEC PERMISSION DU ROI. Inscription on the reverse less legible.
Rogier van der Weyden (Rogier de la Pasture) ca. 1433–1435
88. The Angelic Salutation, Paris, Musée du Louvre (No. 2022, p. 50. Inv. no. 1982)
870 × 915 × 5 mm
Visual examination. Vertical grain. A few insect holes. Four boards. Fragments of dowels in the mortices (visible due to the thinning of the wood).
Rogier van der Weyden (Rogier de la Pasture) ca. 1451–1452
89–91. Triptych of the Braque Family, three panels, Paris, Musée du Louvre (No. 2195, p. 46. Inv. no. R.F. 2063)
89. Centre: Christ Redeemer between the Virgin and St John the Evangelist
410 × 690 mm (thickness not measurable)
Visual examination. Horizontal grain. Good condition. Bare wood. A central cross-grain cross-bar.
90. Right wing: St Mary Magdalene
410 × 340 mm (thickness not measurable)
Sample 341. Vertical grain (?). Good condition. Panel painted on both sides. On the reverse: cross and coat of arms painted on a black background.
91. Left wing: St John the Baptist
410 × 340 mm (thickness not measurable)
Sample 342. Vertical grain (?). Good condition. Panel painted on both sides. On the reverse: the disembodied head on a brick; coat of arms; inscription on a black background.
After Rogier van der Weyden, ca. 1440–1445
92. Portrait of Philip the Good, Duke of Burgundy (1396–1467), Paris, Musée du Louvre (No. 997B, p. 59. Inv. no. M.I. 818)
337 × 260 × 13 mm
Visual examination. Vertical grain. Good condition. Edges are slightly bevelled. Bare wood. Inscription on paper.
Ambrosius Benson, ca. 1540
93. St John the Baptist and a Donor, Dijon, Musée des Beaux-Arts (Inv. no. 1294)
1210 × 430 × 8 mm
Sample 439. Vertical grain. Good condition. Panel split and cradled, old paint on both sides.
Joachim Beuckelaer, signed ‘I.B.’, dated 1566
94. Kitchen Interior, Paris, Musée du Louvre (No. 1902 B, p. 8. Inv. no. R.F. 2659)
1080 × 1390 mm
Visual examination. Horizontal grain. Several boards (?). Four cross-grain cross-bars in oak. (Examination incomplete due to the position of the panel in the museum.)
Attributed to Lancelot Blondeel, 16th century
95. Doors to the Treasury of St Bertin, two wings (two panels very similar, only one of which was examined), Dijon, Musée des Beaux-Arts (Inv. no. D. 94)
2050 × 920 × 5–8mm (a semicircle)
Sample 435. Vertical grain. Good condition. Surface of the wood is uneven. Panel painted on both sides. On the reverse, right wing: A Bishop and Saint (?); left wing: St Bertin and a Companion.
Pieter Brueghel the Elder, signed, dated 1568
96. The Beggars, Paris, Musée du Louvre (No. 1917, p. 55. Inv. no. R.F. 730)
175 × 210 mm
Visual examination. Horizontal grain. Good condition. An inscription painted in black directly on the wood.
Attributed to Jan Brueghel, ca. 1596–1600
97. The Parable of the Blind, Paris, Musée du Louvre (No. 1917 A, p. 56. Inv. no. R.F. 829)
1220 × 1720 × 6 mm
Visual examination. Horizontal grain. Very good condition. Four or five boards. Wide cradle.
Joos Van Cleve, after 1510
98. The Virgin and Child with a Dominican, Paris, Musée du Louvre (No. 2018 B, p. 64; formerly No. 2788 A. Inv. no. R.F. 2068)
570 × 555 × 9 mm
Visual examination. Vertical grain. Good condition. Two boards held together with inset butterfly joints. Edges are very thin. Shouldering of the edges on three sides. Panel not reinforced.
Colyn de Coter, ca. 1510–1515
99. The Three Marys in Lamentation, right wing, Paris, Musée du Louvre (No. 1952 C, p. 46. Inv. no. R.F. 1482) (part of the same altarpiece as 100)
1678 × 625 × 7 mm (right edge); 4 mm (left edge)
Sample 179. Vertical grain. Very good condition. Two unequal boards. Panel painted on both sides. On the reverse, a grisaille representing St Barbara standing before a stone niche with a red background, leaning against a tower and holding a palm and a book; at the bottom, the coat of arms of Averhoult and a shield.
Colyn de Coter, ca. 1510–1515
100. The Trinity, Paris, Musée du Louvre (No. 1952 B, p. 47. Inv. no. R.F. 534) (centre of the same altarpiece as 99)
1670 × 1180 × 12 mm
Visual examination. Vertical grain. Good condition. Five boards. Bare wood. Cradle.
Cornelis van Dalem, ca. 1560–1565
101. Farmyard on a Winter Morning, Paris, Musée du Louvre (No. 1917 B, p. 56. Inv. no. R.F. 2217)
337 × 515 × 5 mm
Samples 275 A, B. Horizontal grain. Good condition at the base of the panel; a few insect holes at the top. Two unequal boards. Roughly cut. Deep groove at the base of the panel.
Gerard David, ca. 1495–1498
102–104. Triptych of Mary, three panels, Paris, Musée du Louvre (No. 2202 B, p. 45. Inv. no. R.F. 588)
102. Central panel: The Virgin and Child
980 (top) × 712 mm (thickness not measurable)
Visual examination. Vertical grain. Good condition. One board (?). Three cross-bars screwed to the frame. Panel split from top to bottom. Traces of previous cross-bars. Bare wood.
103. Left wing: The Donor Jean de Sedano and his Son
910 (top) × 30 mm (thickness not measurable)
Visual examination. Vertical grain. Good condition. Panel painted on both sides. On the reverse: Adam and Eve.
104. Right wing: The Wife of the Donor accompanied by St John the Evangelist
910 (top) × 712 mm (thickness not measurable)
Visual examination. This panel is similar to 103.
Gerard David, after 1501
105. The Marriage at Cana, Paris, Musée du Louvre (No. 1957, p. 54. Inv. no. 1995)
960 × 1280 × 15 mm
Visual examination. Vertical grain. One board. Quarter-sawn. Panel thinned at the edges.
Flemish School, beginning of the 16th century
106. Cleric at Prayer, Besançon, Musée des Beaux-Arts (Inv. no. 896.1.137)
363 × 245 mm
Sample 590. Vertical grain. Panel with auxiliary panel. Cradle.
Flemish School, ca. 1500 (museum attribution: Bruges School)
107–108. Diptych, two panels, Dijon, Musée des Beaux-Arts (Inv. nos. 2179, 2180)
107. The Annunciation (Inv. no. 2180)
330 × 140 × 3 mm
Sample 452. Vertical grain. Good condition. Bare wood. One split. Panel not reinforced.
108. The Visitation (Inv. no. 2179)
330 × 140 × 3 mm
Visual examination. This panel is similar to 107.
Jan Gossaert (Jean Mabuse), signed, dated 1517
109–110. Diptych of Jean Carondelet, two panels, Paris, Musée du Louvre (Nos. 1997, 1998, p. 53. Inv. nos. 1442, 1443)
109. Left wing: Portrait of Jean Carondelet (No. 1997)
427 × 268 mm (thickness not measurable – arched panel)
Sample 332A. Vertical grain. Good condition. Panel painted on both sides. On the reverse: coat of arms, initials I.C. and motto.
110. Right wing: The Virgin and Child (No. 1998)
424 × 268 mm (thickness not measurable – arched panel)
Sample 332B. Vertical grain. Good condition. Panel painted on both sides. On the reverse: a skull, a banner, a motto.
Jan Sanders van Hemessen, ca. 1535 or 1540 (?)
111. The Sacrifice of Abraham, Paris, Musée du Louvre (No. 2300; formerly No. 2641, p. 62. Inv. no. 1180)
390 × 320 mm
Visual examination Vertical grain. Good condition.
Jan Sanders van Hemessen, signed, dated 1555
112. The Young Tobias gives Sight to his Father, Paris, Musée du Louvre (No. 2001, p. 54. Inv. no. 1335)
1400 × 1720 mm
Visual examination. Horizontal grain. Four to six boards. Cradle. (The cradle prevented a detailed examination of the construction of the panel.)
The Master of the Legend of Mary Magdalene, ca. 1505
113. Portrait of Marguerite of Austria, Paris, Musée du Louvre (Inv. no. R.F. 2259)
315 × 220 × 20 mm (including frame)
Visual examination. Vertical grain. Apparent good condition. Panel held in the rebate of the frame.
The Master of the Martrydom of St John, ca. 1525
114. The Martrydom of St John, Paris, Musée du Louvre (Inv. no. R.F. 2128)
1170 × 670 × 5 mm (without auxiliary support – arched panel)
Sample 149A.Visual examination. Vertical grain. Good condition. Two boards. The auxiliary panel is in oak. Cradle in walnut.
Quentin Massys (Matsys or Metsys), signed, dated 1514
115. The Moneylender and his Wife, Paris, Musée du Louvre (No. 2029, p. 58. Inv. no. 1444)
710 × 680 × 8 mm
Visual examination. Vertical grain. Softwood cradle.
Quentin Massys (Matsys or Metsys), ca. 1520
116. The Lamentation of the Virgin, Paris, Musée du Louvre (No. 2203, p. 57. Inv. no. R.F. 817)
370 × 500 × 4 mm
Visual examination. Horizontal grain. Good condition. Softwood cradle.
Quentin Massys (Matsys or Metsys), signed, dated 1529
117. The Virgin and Child, Paris, Musée du Louvre (No. 2030A, p. 59. Inv. no. R.F. 1475)
680 × 490 × 5 mm (arched panel)
Visual examination. Vertical grain. Some insect holes. Small softwood cradle.
Jan Massys (Matsys or Metsys), after 1543
118. Judith and Holofernes, Paris, Musée du Louvre (no number, p. 168. Inv. no. R.F. 2123)
1060 × 754 × 6 mm
Visual examination. Vertical grain. Good condition. Three boards. Roughly cut. Edges of the panel are thinned at the base and at the top.
Jan Massys (Matsys or Metsys), signed, dated 1562
119. David and Bathsheba, Paris, Musée du Louvre (No. 2030B, p. 57. Inv. no. 1446)
1640 × 1970 mm (thickness not measurable)
Visual examination. Horizontal grain. Good condition. Six boards. Cradle composed of five cross-grain uprights and two inset cross-bars in the direction of the grain.
Bernart van Orley, ca. 1520–1525
120. Portrait of an Old Man, Paris, Musée du Louvre (No. 2204A. Inv. no. 1346)
360 × 280 × 7 mm
Sample 277. Vertical grain. Apparently good condition. Painting covering the surface representing a shield with a coat of arms, surmounted with a crown on a field of red. Inscription.
Attributed to Joachim Patenier (Patinier, Patinir) ca. 1475–1524
121. A Soldier, Dijon, Musée des Beaux-Arts (Inv. no. 1295)
300 × 170 × 1 mm
Sample 433. Horizontal grain. Good condition.
Joachim Patenier (Patinier, Patinir), 16th century
122. Penitent Mary Magdalene, Dijon, Musée des Beaux-Arts (Inv. no. D. 212)
1070 × 670 × 7 mm
Sample 451. Horizontal grain. Good condition. Many splits. Four cross-bars.
Joachim Patenier (Patinier, Patinir) ca. 1515–1520
123. St Jerome in the Desert, Paris, Musée du Louvre (Inv. no. R.F. 2429)
760 × 1350 × 3 mm
Sample 331. Horizontal grain (?). The panel probably has an auxiliary support panel of wood where the grain is horizontal. A few insect holes. Cradle.
Jan Provost, ca. 1510–1520
124. Saint or Woman Donor Reading, wing of triptych, Paris, Musée du Louvre (No. 2202C; previously No. 1051, p. 51. Inv. no. R.F. 1472)
790 × 470 × 5 mm
Visual examination. Vertical grain. Good condition. Two boards. On the reverse: an image in grisaille representing a female saint.
Jacob van Utrecht (Claess or Claessens) signed, ca. 1520
125. Young Woman with a Carnation, Paris, Musée du Louvre (Inv. no. R.F. 2091)
397 × 278 × 8 mm
Visual examination. Vertical grain. Very good condition. One board. Panel bevelled at the base. Bare wood. Support not reinforced.
Lucas van Valckenborch, monogram, dated 1594
126. The Tower of Babel, Paris, Musée du Louvre (Inv. no. R.F. 2427)
410 × 563 × 8 mm
Visual examination. Horizontal grain. Good condition. One board. Quarter-sawn. Bare wood. Traces of the use of a plane. Panel not reinforced.
Copy after Rogier van der Weyden, probably 16th century
127. Portrait Presumed to be of John, 1st Duke of Cleves, Paris, Musée du Louvre (Bibliotheque Nationale depot)
500 × 330 mm (thickness not measurable)
Visual examination. Vertical grain. Excellent condition. Panel cradled. (Difficult to examine the construction of the panel, impossible to count the number of boards.) Supported in the rebate of the frame. Bare wood.
Antwerp
Antwerp School, ca. 1545
128–130. Triptych of the Crucifixion, three panels, Dijon, Musée des Beaux-Arts (Inv. no. D. 90)
128. Centre: The Crucifixion
1530 × 890 × 8 mm
Sample 440A. Vertical grain. Good condition. Split. A painting on cloth covers the surface.
129. Wing: Pilate Washing his Hands
1530 × 390 × 8 mm
Sample 440B. Vertical grain. Good condition.
130. Wing: Christ between Two Soldiers
1530 × 390 × 8 mm
Visual examination. This panel is similar to 129.
Brussels
Brussels School, end of the 15th century
131. Portrait of Philip the Handsome, Paris, Musée du Louvre (No. 2202B, p. 58. Inv. no. 2085)
418 × 269 × 4 mm
Visual examination. Vertical grain. One split. Inscription: black letters on a cream-coloured background.
French School
Workshop of the Master of the Rohan Hours, ca. 1420
132. Apostles and Prophets, wing from a diptych, Laon, Musée d’art et d’archéologie
924 × 1000 × 8 mm approx.
Visual examination. Vertical grain. Good condition. Eleven boards of which two are more recent. Assembled with butt joints. Painted on both sides. On the reverse: The Angel of the Annunciation
French School, 15th century
133. Woman with Banners, Paris, Musée du Louvre (No. 1000A, p. 276. Inv. no. 9925)
370 × 260 mm (thickness not measurable)
Sample 1307. Vertical grain. Good condition. Panel not reinforced. Old frame reused and painted. Paint covers the surface.
French School, ca. 1530–1535 (museum attribution: Bourdichon)
133A. Portrait of a Man with a Hawk, New York, Brooklyn Museum of Art (No. 32,800)
242 × 181 mm
Sample 1546. Deciduous oak. Vertical grain. Wax impregnating the reverse prevented study of the panel’s construction.
Jean Clouet, ca. 1525
134. Portrait of Francis 1st, Paris, Musée du Louvre (No. 126, p. 35. Inv. no. 3256)
940 × 730 × 9 mm (uneven thickness)
Sample 273. Vertical grain. Good condition. Two unequal boards. A butterfly joint between the boards. Two small cross-bars applied. Inscription of black letters on a cream-coloured background.
Workshop of François Clouet, dated 1563
135. Portrait of Claude de Beaune, Paris, Musée du Louvre (No. 133A, p. 36. Inv. no. 3277)
310 × 220 × 6 mm
Visual examination. Vertical grain. Excellent condition. One board. Edges of the support have wide bevels. A strip of oak on the top edge of the panel. An inscription in black letters directly on the wood. Another inscription on paper.
Workshop of François Clouet, ca. 1560–1565
136. Portrait of François of France, Count of Alençon, Paris, Musée du Louvre (No. 1022. Inv. no. M.I. 836), Don Sauvageot
330 × 250 × 5 mm
Visual examination. Horizontal grain. Good condition. One board. Two cross-bars inset in the direction of the wood grain. Edges of the sides are have wide bevels. Inscription on glued paper. Slight warping of the support. On the face of the panel there is a split along the width of the base.
Imitator of François Clouet, 1561
137. Portrait of Louis de Saint-Gelais, Paris, Musée du Louvre (No. 134. Inv. no. 3270), Roger de Gaignières Collection
316 × 220 × 5 mm
Visual examination. Vertical grain. Good condition. One board. Edges of the panel are widely bevelled. Inscription in black letters on a cream-coloured background. Wood strips on the edges of the sides.
School of François Clouet, ca. 1570
138. Elisabeth of Austria, Queen of France, Paris, Musée du Louvre (No. 130, p. 284. Inv. no. 3254), Roger de Gaignières Collection
360 × 260 × 4 mm
Visual examination. Vertical grain. One board. Bevelled edges of the panel ranging from 700 to 800 mm in width. Quarter- sawn. A wooden strip along the edge of the left side of the panel. Inscription on paper glued to panel.
After François Clouet, 16th century
139. Portrait of Henry II, King of France, full length, Paris, Musée du Louvre (No. 129, p. 36. Inv. no. 3259)
355 × 205 × 5 mm
Visual examination. Vertical grain. Excellent condition. One board. Panel is bevelled. Wooden strips on the edges of four sides. Support not reinforced. A remnant of marbled paper covers the reverse.
School of Clouet, 16th century
140. Portrait of François de Lorraine, full length, Paris, Musée du Louvre (No. 131, p. 36. Inv. no. 3266; M.R. 1341)
232 × 165 × 5 mm
Visual examination. Vertical grain. Excellent condition. One board. Panel not reinforced. A layer of cream-coloured paint covers the surface. Inscription on paper glued to the centre of the panel.
School of Clouet, 1581 (?)
141. Portrait of a One-Eyed Flautist, Paris, Musée du Louvre (Inv. no. R.F. 1948-26)
694 × 520 × 10 mm
Sample 274. Horizontal grain. Excellent condition. One board (?). Panel not reinforced. Dark wood stain on the surface.
Corneille de Lyon (?), ca. 1560
142. Portrait of Jacques Bertaut, Paris, Musée du Louvre (No. 1009A, p. 281. Inv. no. 3269), Roger de Gaignières Collection
212 × 155 × 6 mm
Visual examination. Vertical grain. Excellent condition. One board. Panel bevelled. On the face of the panel, on the left side there is a split of 30 mm from the bottom towards the top of the panel. Inscription in black letters on a cream-coloured background. Wooden strips of 8–12 mm on the edges of the four sides.
Jean Cousin, 16th century
143. Eva Prima Pandora, Paris, Musée du Louvre (No. 3055, p. 55. Inv. no. R.F. 2373)
970 × 1490 × 11 mm
Visual examination. Horizontal grain. Very good condition. Four unequal boards. Assembled with flush-edge joints, glued. Edges of the panel have been thinned. Evidence of cross-bars set in and glued, applied across the grain. To the right of the support, three recent cross-bars attached with glue.
French School, ca. 1553–1555
144. Portrait of Jean Babou de la Bourdaisière, Paris, Musée du Louvre (No. 133B, p. 37. Inv. no. 3273), Roger de Gaignières Collection, No. 76
310 (without edge strip) × 233 × 4 mm
Visual examination. Horizontal grain. Excellent condition. One board. A split, on the face in the left part of the panel. Wooden strip on the top edge. Inscription in black letters on a cream-coloured background
French School, ca. 1555
145. Portrait of Charlotte de Roye, Paris, Musée du Louvre (No. 1021, p. 283. Inv. no. 3278), Roger de Gaignières Collection
307 × 226 × 5 mm
Visual examination. (Soft oak) Horizontal grain. Excellent condition. One board. The right edge of the panel has been thinned. Inscription on a cream-coloured background.
French School, 1550–1560
146. Portrait of François de Lorraine, Duke of Guise, Paris, Musée du Louvre (No. 1015, p. 283. Inv. no. 3267), Roger de Gaignières Collection
310 × 230 × 5 mm
Visual examination. (Soft oak) Vertical grain. Excellent condition. One board. A split on the front of the panel face from the base to three-quarters of its height. Bare wood. Panel cradled.
French School, dated 1565
147. Portrait of Pierre Forget de Fresnes, Paris, Musée du Louvre (Inv. no. R.F. 1941-29), Roger de Gaignières Collection
315 × 230 × 4 mm
Visual examination. Vertical grain. Good condition. Seal. Panel not reinforced.
French School, dated 1566
148. Portrait of Michel de LHospital, Chancellor of France, Paris, Musée du Louvre (No. 1017, p. 283. Inv. no. 3272), Roger de Gaignières Collection
325 × 232 × 6 mm (edges); 12 mm (centre)
Visual examination. Vertical grain. Very good condition. One board. Edges of the panel are bevelled. Bare wood. Support not reinforced.
French School, ca. 1568
149. Portrait of Nicolas de Neuville, Paris, Musée du Louvre (No. 1025, p. 285. Inv. no. 3274; B. 2454), Roger de Gaignières Collection, No. 53
322 × 233 × 6 mm
Visual examination. Horizontal grain. Good condition. One board. At the bottom of the panel there is a 30–40 mm split in in the widthwise direction. Inscription in black letters on a cream-coloured background. Panel not reinforced.
French School, dated 1574
150. Portrait of Charles IX, Paris, Musée du Louvre (No. 3162, p. 285. Inv. no. R.F. 2095), Arconati-Visconti Collection
315 × 234 × 5 mm
Visual examination. Vertical grain. Excellent condition. One board. Three splits. The bottom edge, the top edge and the left edge are crudely thinned. Two strips of cloth are glued across the splits. Cradle.
French School, ca. 1580
151. Portrait of Catherine of Medici, Queen of France, Paris, Musée du Louvre (No. 1030. Inv. no. 3276), probably from the Roger de Gaignières Collection
295 × 250 × 6 mm
Visual examination. Vertical grain. Insect damaged. One board. Bare wood. Panel not reinforced. Inscription on glued paper. A circle 20 mm in diameter and six rays are carved into the wood.
French School, ca. 1596
152. Portrait of Antoinette d’Orléans, Paris, Musée du Louvre (No. 1037. Inv. no. M.I. 855), Don Sauvageot
329 × 233 × 6–9 mm (edges); 10 mm (centre)
Visual examination. Vertical grain. Excellent condition. One board. Crude and unevenly worked. Edge of the right side of the panel has a narrow bevel. Bare wood. Support not reinforced. Inscription of black letters painted directly onto the wood. Another inscription on glued paper at the top of the panel.
French School, ca. 1596
153. Portrait of Antoinette d’Orléans, Duchess of Retz, Paris, Musée du Louvre (No. 1031. Inv. no. M.I. 859), Don Sauvageot
329 × 233 × 6–9 mm (edges); 10 mm (centre)
Visual examination. Excellent condition. One board. Edges of the panel are widely bevelled. Bare wood. Support not reinforced.
French School, 16th century, previously attributed to Jean Clouet
154. Portrait of François 1st, bust, Paris, Musée du Louvre (No. 127, p. 35. Inv. no. M.I. 832), Don Sauvageot
213 × 166 × 7 mm
Visual examination. Vertical grain. Good condition. Bare wood. Inscription on glued paper.
French School, 16th century
155. Portrait of Chrestien de Savigny, Paris, Musée du Louvre (No. 1028, p. 285. Inv. no. M.I. 841)
320 × 243–246 × 6 mm (edges)
Visual examination. Vertical grain. Excellent condition. One board. Edges of the panel are widely bevelled. Bare wood. Support not reinforced. Inscription on glued paper.
French School, 16th century
156. Gabrielle d’Estrée and her Sister, Paris, Musée du Louvre (Inv. no. R.F. 37-1)
960 × 1280 × 6 mm
Sample 272. Horizontal grain. Good condition. Panel cradled.
French School, 16th century
157. Portrait of Elizabeth of Austria, Paris, Musée du Louvre (No. 133, p. 285. Inv. no. M.I. 850), Don Sauvageot
436 × 302 × 5 mm
Visual examination. Vertical grain. Good condition. One board. One split running the whole length of the panel. Cradle. Bare wood.
French School, 16th century
158. Portrait of Gaspard de Coligny, Paris, Musée du Louvre (No. 1029, p. 286. Inv. no. M.I. 838), Don Sauvageot, No. 993
173 × 120 × 4 mm (oval panel)
Visual examination. Vertical grain. Excellent condition. One board. Slight warping. Inscription in black letters on cream-coloured background.
French School, 16th century
159. Portrait of Diane de France, Paris, Musée du Louvre (No. 1024, p. 284. Inv. no. 3271)
322 × 232 × 5 mm (edges)
Visual examination. Vertical grain. Excellent condition. One board. 8 mm wooden strip on the edge of the base of the panel. Edges are bevelled to 30 mm. Support not reinforced. Inscription in black letters on cream-coloured background
Avignon
Enguerrand Quarton (called Charreton or Charonton), 1454
160. The Coronation of the Virgin, Villeneuve-les-Avignon, Hospice (No. 36)
1830 × 2200 × 20 mm
Sample 1140. Vertical grain (?). Apparent good condition. (Examination incomplete, reverse inaccessible.)
Avignon School, ca. 1460
161. St Jerome, Paris, Musée du Louvre (No. 1050, p. 277. Inv. no. R.F. 1035)
555 × 410 × 8 mm
Samples 664, 664A. Vertical grain. Good condition. Two boards. Split on the left of the panel. Support not reinforced. Black paint covers the surface.
Avignon School, ca. 1450–1460
162. Two Saints and a Cardinal Worshipping, Poitiers, Museum (Inv. no. 822.1.1)
680 × 580 × 10 mm
Sample 1029. Vertical grain. Apparent good condition. Panel cradled.
Bourbonnais
Bourbonnais School, ca. 1490 (museum attribution: French School, 15th century)
163. Pietà, with St John and Mary Magdalene, Paris, Musée du Louvre (No. 966, p. 275. Inv. no. R.F. 536)
339 × 251 × 17 mm (with frame – arched panel)
Visual examination. Vertical grain. Excellent condition. One board. Quarter-sawn. Two recent bars screwed onto the lateral side edges of the panel. Support not reinforced.
The Master of Moulins, ca. 1485
164. Portrait of Cardinal Charles II of Bourbon, Munich, Alte Pinakothek (No. W.A.F. 648).
340 × 257 × 6 mm
Sample 579. Vertical grain. Good condition. A marbled paint covers the surface. Panel is not reinforced.
The Master of Moulins, ca. 1490
165. The Virgin and the Infant Worshipped by Angels, Brussels, Musées Royaux des Beaux-Arts (No. 681. Inv. no. 3638)
388 × 294 × 4 mm
Samples 1528 A, B. Vertical grain. Excellent condition. One board (?). Quarter-sawn (large rays easily visible). A split running the whole length of the panel 60 mm from the far left edge. Cradle in spruce or larch (sample 1528B). Smooth surface. On the front there is a 7 mm border of bare wood separated from the painting by a raised wood beading.
The Master of Moulins, ca. 1490–1500
165A. The Annunciation, Chicago, Art Institute (No. 331,062), A. Ryerson Collection
730 × 501 × 6 mm
Sample 1554. Horizontal grain. Excellent condition. Four boards. Panel thinned at the edges. Slight warping. Cradle.
The Master of Moulins, ca. 1490–1495
166. A Female Donor Presented by Mary Magdalene, Paris, Musée du Louvre (No. 1005A, p. 278, Inv. no. R.F. 1521)
560 × 400 × 5 mm
Sample 920. Vertical grain. Excellent condition. Two boards, one is quarter-sawn, the other flat-sawn. Assembled with pegs. The thinned panel reveals the open joint with remains of part of a dowel. Non-original reinforcing cross-bar inserted across the joint. Bare wood.
The Master of Moulins, ca. 1500
167. Charlemagne, and the Meeting of Sts Joachim and Anne at the Golden Gate, London, National Gallery (No. 4092)
720 × 590 × 10 mm
Sample 1132. Horizontal grain. Four unequal boards. Cradle consists of slender cross-bars in the direction of the grain and unattached bars across the grain. A split of 280 mm on the left.
Workshop of the Master of Moulins, 1488
168. Peter II, Lord of Beaujeu, Duke of Bourbon, Presented by St Peter, Paris, Musée du Louvre (No. 1004, p. 278, Inv. no. 9071)
740 × 660 mm (without frame – thickness not measurable)
Visual examination. Vertical grain. Panel held in the rebate of the frame. Two cross-bars inserted across the grain.
Workshop of the Master of Moulins, 1488
169. Anne of France, Lady of Beaujeu, Duchess of Bourbon, Wife of Pierre II, Presented to St John the Evangelist, Paris, Musèe du Louvre (No. 1005, p. 278. Inv. no. R.F. 535) (paired with 168)
730 × 530 × 6 mm (edges)
Visual examination. Vertical grain. Very good condition. One board framed by two lateral framing uprights measuring 47 mm on the right and 36 mm on the left. Edges of the panel are bevelled. On the reverse: gold fleur de lis painted on an azure background.
Attributed to the Master of Moulins, ca. 1494
170. Portrait of the Dauphin Charles-Orlant, Paris, Musèe du Louvre (Inv. no. R.F. 1942-28), Beistegui Collection, Biarritz
392 × 333 mm (with frame); 285 (without frame) × 233 (without frame) × 10 mm approx.
Sample 348. Vertical grain. Good condition. One board. Inscription on parchment dated 1494. Supported in the rebate of the frame.
Attributed to the Master of Moulins ca. 1495
171. Portrait of a Child in Prayer, Paris, Musèe du Louvre (No. 3159, p. 278. Inv. no. R.F. 1754)
267 × 162 × 6–8 mm
Samples 336; 1510. Vertical grain. Excellent condition. One board. Quarter-sawn (large rays visible). The corners of the top and bottom edges of the panel have been planed. A flat-sawn wooden strip, on the left edge – 9 mm wide at the base and 11 mm at the top. Bare wood. Panel not reinforced.
Burgundy
Flemish painter working in Burgundy, dated 1432 (museum attribution: French-Flemish School)
172. The Presentation in the Temple, Dijon, Musèe des Beaux-Arts (Inv. no. 3765)
880 × 530 × 7 mm
Sample 457. Vertical grain. Good condition. Panel not reinforced. Bare wood. Two red wax seals, one showing the English coat of arms.
Attributed to the Burgundian School, ca. 1465
173. The Legend of St Joseph, Paris, Musée de Cluny (No. 1691. Inv. no. C.L. 827)
900 × 990 × 4 mm
Visual examination. Vertical grain. Good condition. Four boards. Panel held in the rebate of the frame. Painted on both sides. On the reverse: Scenes from the Passion painted on a black background.
Attributed to the Burgundian School, ca. 1495, sometimes attributed to the Master of Moulins
173A. Portrait of a Young Man, New York, Metropolitan Museum of Art (Nos. 32, 100, 115), Friedsam Collection
325 × 260 × 15 mm (arched upper part)
Sample 1549 (Deciduous oak) Vertical grain. Good condition. A layer of protective wax prohibits inspection. Cradle consists of three batons and three cross-bars.
Dijon
Workshop of Dijon, ca. 1390
174. The Entombment, Paris, Musèe du Louvre (No. 997, p. 273. Inv. no. M.I. 770)
330 × 213 × 8 mm
Visual examination. Vertical grain. Good condition. Panel with auxiliary panel in oak.
Workshop of Dijon, around 1400 (museum attribution: Jean Malouel)
175. Pietà, known as the Large Round Pietà, Paris, Musée du Louvre (No. 996, p. 275. Inv. no. M.I. 692)
Diameter 645 mm; thickness 21 mm (with frame)
Samples 250: 1031; 1128; 1492 A–C. Coat of arms of the dukes of Burgundy, painted on a white background. This painting on the reverse prevented examination of the construction. However, it seems that the support is made of four quarter-sawn boards, of which the joints may be discerned which would partly explain the presence of two different species: oak (samples 1031A, 1128, 1492 A–C) and fir (samples 250; 1031B); one of the two may come from a tenon used in the assembly. The location of the samples and the predominance of oak among these suggest that the support is made of oak and that fir is used for the assemblage.
Attributed to Jean Malouel or Henri Bellechose, ca. 1400
176. Pietà: Dead Christ, Supported by the Virgin Mary, St John and Two Angels, Troyes, Musée des Beaux-Arts (No. 185)
392 × 256 × 12 mm (with frame)
Samples 430; 1008. Vertical grain. Very good condition. One board. Carved frame. Panel not reinforced. A faux marbling covers three-quarters of the surface. Warping of the support is most evident at the bottom of the panel.
Loire-Touraine
Loire School, ca. 1460
177–178. Two panels from an altarpiece, Le Mans, Musée de Tessé, originally at the priory of St Hippolte de Vivoin, Sarthe
177. The Virgin and Child with St Benedict
1170 × 1120 × 7 mm
Visual examination. Vertical grain. Good condition. Support reinforced with a 5 mm thick oak panel. Rough tool marks visible through the paint layer.
178. The Adoration of the Magi
1160 × 1122 × 7 mm
Visual examination. This panel is similar in all respects to 177.
Touraine School, ca. 1480–1490 (museum attribution: French School, 15th century)
179. St Martin and the Beggar, Paris, Musèe du Louvre (Inv. no. R.F. 2809)
450 × 470 × 12 mm
Visual examination. Vertical grain. Good condition. Panel with auxiliary panel in oak. Cradle in mahogany.
Jean Fouquet, ca. 1444–1451
180. Portrait of Charles VII, King of France, Paris, Musèe du Louvre (No. 289, p. 101. Inv. no. 9106)
850 × 710 mm (thickness not measurable)
Visual examination. Vertical grain. Very good condition. Three boards. Split on the left covered with a strip of cloth. Seal. Panel not reinforced. Inscription at the bottom and at the top: black letters on a cream-coloured background at the base; black letters directly onto the wood at the top.
Jean Fouquet ca. 1460
181. Portrait of Guillaume Jouvenel des Ursins, Paris, Musée du Louvre (No. 288, p. 101. Inv. no. 9619)
950 × 720 × 5 mm
Visual examination. Vertical grain. Good condition. Butterfly joints. Large cradle.
Jean Fouquet, ca. 1470–1480
182. The Descent from the Cross, known as the Pietà de Nouans, Nouans (Indre-et-Loire), parish church
1400 × 2400 × 40 mm approx.
Sample 431. Vertical grain. Many insect holes. Panel held in the rebate of the frame. Cross-bars measure 70 mm in width and 10 mm in depth, applied on both the panel and the frame. (Examination incomplete, reverse inaccessible.)
School of Jean Fouquet, ca. 1492
183. Portrait of Zaccaria Contarini, Chateauroux, Musée Bertrand (No. 29)
470 × 320 (without frame) × 15 mm (centre)
Samples 1142 A, B. Vertical grain. Very good condition. One board. Edges of the panel are bevelled. Support not reinforced. Bare wood. Seal with the name and coat of arms of the subject.
School or workshop of Jean Fouquet, dated 1485
184. Triptych of the Passion of Christ, called Triptych of Loches: Jesus Carries his Cross; The Crucifixion; The Entombment, one panel, Loches, church of Saint-Antoine, from Chartreuse du Liget
1300 mm (edges); 1600 (centre) × 2800 mm
Sample 476. Horizontal grain. Good condition. Two recent cross-grain cross-bars. (Examination incomplete, reverse inaccessible.)
North
Melchior Broederlam, 1394–1399
185–186. The Altarpiece of the Chartreuse de Champmol, Dijon, Musée des Beaux-Arts (Inv. no. C.A. 1420), fragments, two panels: the central panel, sample 456D, is carved oak. The work is by Jacques de Baerze.
185. Right panel: The Annunciation; The Visitation
1670 × 1250 mm (thickness not measurable)
Sample 456B. Horizontal grain. Good condition.
186. Left panel: The Presentation in the Temple; The Flight into Egypt
1670 × 1250 mm (thickness not measurable)
Samples 456 A, C. This panel is similar to 185.
Attributed to the Northern School, ca. 1455–1461
187. The Parliament of Paris, Paris, Musée du Louvre (No. 998A, p. 275. Inv. no. R.F. 2065)
2120 mm (centre); 1390 (edges) × 2690 × 12 mm
Sample 343. Vertical grain. Good condition. Panel doubled (?) and cradled
Northern School, second half of 15th century (museum attribution: Burgundian School, 15th century)
187A. Christ Carrying the Cross, New York, Metropolitan Museum of Art (No. 32. 100. 112)
377 × 270 × 5 mm
Sample 1552. Deciduous oak. Vertical grain. Good condition. One board (?). A layer of wax covering the surface interfered with the examination. Members of the cradle tightly spaced. Quarter-sawn. Wood grain visible through the paint layer.
Northern French School, second half of 15th century (museum attribution: Burgundian School, 15th century)
188. Portrait of Margaret of York, Wife of Charles the Reckless, the Lady in a Hennin, Paris, Musée du Louvre (Inv. no. R.F. 38-17)
205 × 125 × 7 mm
Visual examination. Vertical grain. Excellent condition. One board. An inscription on paper covers the surface. Edges thinned on the lateral sides. Recent wooden strip on the edge of the base of the panel.
Attributed to the Northern School, ca. 1490 (museum attribution: French School, 15th century)
189. The Virgin Suckling the Infant, Paris, Musée du Louvre (No. 1001, p. 276. Inv. no. R.F. 700)
430 × 280 × 27 mm (diameter with frame)
Sample 337. Vertical grain. Insect damaged. Bare wood. Panel not reinforced.
Attributed to the Northern School, ca. 1480 and 1510
190. Tryptych: The Flagellation; Calvary; Pietá, one panel, Paris, Musée de Cluny (Inv. no. C.L. 22073)
800 × 1430 × 5 mm
Visual examination. Horizontal grain. Good condition. Three boards (?). Traces of a cross-bar on the left. Cross-bar set into the lower part of the panel. Double dovetail dowel inserted across a split.
French-Flemish School, beginning of the 15th century
191. Portrait of John the Fearless, Duke of Burgundy (1371–1419), Paris, Musée du Louvre (Inv. no. M.I. 831)
292 × 210 × 5 mm
Visual examination. Vertical grain. A small number of insect holes. Inscription directly on the wood.
French-Flemish School, 15th century (museum attribution: French School)
192. Salome Receives the Head of St John the Baptist, Aix-en-Provence, Musée des Beaux-Arts (No. 187)
370 × 260 × 10 mm
Samples 394; 989. Vertical grain. Three boards. A ground and a layer of reddish paint cover the surface.
French-Flemish School, 15th century
193. The Crucifixion, centre of triptych, Paris, Musée du Cluny (No. 1686, Inv. no. C.L. 877)
1230 × 857 × 10 mm (edges)
Visual examination. Vertical grain. Good condition. Three boards. Two cross-bars in softwood, applied in the direction of the grain. Shaped with a draw-knife. Dowelled assembly visible at the board joins (three open holes with dowels) and at the outer edges of the lateral sides. Edges of the four sides are bevelled.
The Master of the Legend of Mary Magdalene, ca. 1490–1495
194. The Virgin and Child, Paris, Musée du Louvre (Inv. no. R.F. 2822)
215 × 133 × 5 mm
Visual examination.Vertical grain. Excellent condition. One board. A ground and a layer of paint cover the surface.
The Master of Saint-Gilles, 15th century
195. The Virgin and Child, Paris, Musée du Louvre (No. 909B. Inv. no. R.F. 3967)
224 × 142 × 4 mm
Visual examination. Vertical grain. Very good condition. Mahogany cradle.
The Master of Saint-Gilles, 15th century
196. Cain and Abel, Dijon, Musée des Beaux-Arts (Inv. no. 1291)
260 × 200 × 7 mm
Sample 436. Vertical grain. Good condition.
Simon Marmion, 15th century
197–198. St Bertin Altarpiece, Saint-Omer, fragments, two panels, upper portions of wings, London, National Gallery (Nos. 1302, 1303)
197. The Soul of St Bertin Carried up to God
560 × 190 × 5–8 mm
Sample 1134A. Vertical grain. Image painted on both sides. On the reverse a Gothic construction in the form of an arrow painted in grisaille; Gothic canopies.
198. A Choir of Angels
560 × 190 × 5–8 mm.
Sample 1134B. This panel is similar to 197.
Northern French School 1470–1532 (museum attribution: Jean Bellegambe)
199. A Monk, Dijon, Musée des Beaux-Arts (Inv. no. 1466)
220 × 170 × 7 mm
Sample 438. Vertical grain. Good condition. One split. Two red wax seals.
Attributed to the Master of the Pietà of Saint-Germain, ca. 1500 (museum attribution: Northern School)
199A. The Entombment, Chicago, Art Institute (No. 26570), Munger Collection
482 mm (right); 480 (left) × 700 × 6 mm
Sample 1553. Horizontal grain. Very good condition. Three boards measuring respectively from bottom to top: 180, 125 and 175 mm in height on their right edges and 180, 118 and 182 mm on their left. Slight warping. Cradle.
Jean Bellegambe, ca. 1534
200. St Adrian, Paris, Musée du Louvre (No. 13A, p. 5. Inv. no. M.I. 817)
730 × 320 × 4 mm
Sample 151.Vertical grain. Inscription on glued paper. Cradle in softwood, rather large.
Paris
Paris School, ca. 1360
201. Portrait of King John II ‘Le Bon’, Paris Musée du Louvre (Inv. no. R.F. 2490)
598 × 375 × 15 mm (with frame)
Samples 919 A, B. Vertical grain. Good condition. One board. Splits. Carved frame. A layer of textile covers both sides of the panel. Wooden strips along the side edges.
Paris School, ca. 1380–1390
202–203. Small Bargello Diptych, Florence, Museo nazionale del Bargello (No. 33. Inv. no. 2038C)
202. Left panel: The Adoration of the Magi
544 × 356 × 4 mm (without frame); 9 mm (with frame)
Samples 1036 A, B. Vertical grain. Very good condition. Original frame in oak (sample 1036B). Panel painted on both sides. On the reverse: a coat of arms.
203. Right panel: The Crucifixion with St John the Baptist and St Catherine
540 × 354 × 2 mm (without frame); 10 mm (with frame)
Samples 1035 A, B. Vertical grain. Very good condition. Panel slightly warped. Painting on the reverse similar to the previous entry.
Paris School, ca. 1390
204–205. Large Bargello Diptych, Florence, Museo nazionale del Bargello, two panels, Carrand Collection
204. Left panel: The Virgin and the Infant Jesus
904 × 293 × 12 mm
Samples 636 A, B. Vertical grain. Very good condition. Two unequal boards. Frame with applied mouldings of 14 mm thickness in oak (sample 636 B). Panel not reinforced. A red paint covers the surface.
205. Right panel: The Crucifixion
904 × 293 × 8 mm
Samples 637 A, B. Similar to 204 however it is not possible to ascertain the number of boards in this panel.
Picardy-Amiens
Picardy School, Amiens, ca. 1498
206. The Coronation of Louis XII, Paris, Musée du Cluny (No. 1682. Inv. no. C.L. 822B) (paired with 207)
1930 × 560 mm (thickness not measurable)
Visual examination. Vertical grain. Good condition. Two boards. Quarter-sawn. A small board 60 mm in width on the left edge and a piece of wood 385 mm in height at the top. This piece of wood is flat-sawn. Recent frame attached to the panel. Four cross-grain cross-bars attached with screws. Two bars in the direction of the grain are fixed between the first and second cross-bars below the top of the panel. Traces of paint.
Picardy School, Amiens, ca. 1498
207. The Coronation of David, Paris, Musée du Cluny (No. 1682. Inv. no. C.L. 822 A) (paired with 206)
940 × 580 mm (thickness not measurable)
Samples 357, 358. Vertical grain. Good condition. Panel painted on both sides. On the reverse: The Pietà.
Amiens School, beginning of the 16th century
208. The Virgin Standing in a Gothic Church (Puy dAmiens), Paris, Musée du Cluny (No. 1681. Inv. no. C.L. 881)
1130 × 630 × 10–17 mm (uneven thickness)
Visual examination. Good condition. Three boards. Upper corners of the panel are rounded.
Picardy School, ca. 1500–1510 (probably Abbeville School)
209. The Virgin in the Field of Corn, Paris, Musée du Cluny (No. 1680. Inv. no. C.L. 823)
1120 × 740 × 20 mm (arched)
Visual examination. Vertical grain. Three unequal boards; the middle one is narrower. Wooden strips on the edges of three sides of the panel.
Provence
Provence School, ca. 1450–1460
210. St Catherine and a Bishop, part of an altarpiece, Avignon, Musée Calvet (No. 4)
690 × 510 × 12 mm
Samples 652; 1141. Vertical grain. Good condition. A cross-bar and an upright cross in the axis of the panel.
Provence School, ca. 1460
211. The Fountain of Blood (or of Life), Avignon, Musée Calvet (No. 8)
1000 × 1750 × 30 mm
Sample 661. Horizontal grain. Good condition. Four boards.
Provence Workshops, ca. 1480
[212] Pietà, Paris, Musée du Louvre (Inv. no. R.F. 2802) (part of the same altarpiece as 213)
325 × 316 × 4 mm (edges)
Visual examination. Vertical grain. An area of insect damage on the left side. Three unequal boards, measuring respectively from left to right, 64, 201 and 45 mm in width. Edges of the panel are bevelled. On the upper part on the right edge, a hole and dowel are evidence of the assembly. Support not reinforced. Traces of staining.
Provence Workshops, ca. 1480
[213] The Climb to Calvary, Paris, Musée du Louvre (Inv. no. R.F. 2803) (part of the same altarpiece as 212)
320 × 320 × 7 mm
Visual examination. Vertical grain. Some insect holes. Two unequal boards. Assembly dowels in the join, upper part of the support. Panel cradled.
Attributed to Nicolas Dipre, said to be from Amiens, ca. 1490–1500
214. The Meeting of St Joachim and St Anne at the Golden Gate, fragment, Carpentras, Museum
418 × 475 × 24 mm
Sample 613. Horizontal grain. Much insect damage. Roughly cut. Edges of the panel are bevelled. Wooden strips on the edges of the sides. Seals. A grey paint covers the surface.
Provence School, 16th century
215. St Bonaventure, St Barbara and a Donor, Marseilles, Comte de Demandolx-Dedons Collection
500 × 510 × 5 mm
Sample 409. Vertical grain. Good condition. Three unequal boards. Two cross-bars attached in the direction of the grain. Panel thinned at the edges.
Troyes
French School, Troyes region, end of the 15th century
216. The Virgin and Child, Troyes, Musée de Vauluisant (No. 115), from the chapel of Saint-Gilles in Troyes (commissioned by a family from the region)
1200 × 1000 × 9 mm
Sample 999. Vertical grain. Very good condition. Four unequal boards. Roughly sawn. Butt-joint assemblage. Bare wood. Panel not reinforced.
French School, Troyes region, 16th century
217. Portrait of Charles de Refuge, Abbot of Moutier-La-Celle, Troyes, Musée des Beaux-Arts (No. 2201)
1482 × 845 (with frame) × 15 mm
Sample 984. Vertical grain. Good condition. Seven boards. Double dovetail keys inserted in the joints. Panel held in the rebate of the original frame. Butt-joint assemblage. Old keyhole in the middle of the left side of the panel. Traces of ground and paint.
French School, region of Troyes, 16th century
218. The Last Judgement, Troyes, Musée de Vauluisant (No. 368), from the old chapel of Cordeliers, Troyes
964 × 985 mm (thickness not measurable)
Visual examination. Vertical grain. Very good condition. Seven boards. Assembled with butt joints. A recent black paint covers the surface. Panel not reinforced.
French School, Troyes region, 16th century, previously attributed to the Flemish School
219. St Lupien, wing of an altarpiece, Troyes, Musée de Vauluisant (No. 388)
715 × 230 × 15 mm
Sample 1000. Horizontal grain. Very good condition. Five boards. Assembled with flush-edge joints. No auxiliary support. A red paint covers the surface.
Dutch School
Gérard de Saint-Jean, ca. 1475–1480
220. The Resurrection of Lazarus, Paris, Musée du Louvre (No. 2563A, p. 61. Inv. no. R.F. 1285)
1250 × 970 × 4 mm (without auxiliary support)
Sample 334. Vertical grain. Some insect holes. Panel doubled in oak (visual examination), 5 mm in thickness. Mahogany cradle (?)
Jerome Bosch (Hieronymus van Aeken), ca. 1510–1516
221. The Ship of Fools, Paris, Musée du Louvre (Inv. no. R.F. 2218)
580 × 310 × 5 mm (without auxiliary support)
Samples 333; 426. Horizontal grain. Good condition. Recent auxiliary 4 mm support panel of exotic wood plywood. Oak strip (sample 426) on the edge at the top and the lateral sides of the panel. Splits.
Dutch School, beginning of the 16th century
222. The Virgin, Child and St John the Baptist, Dijon, Musée des Beaux-Arts (Inv. no. 2775)
1210 × 770 × 10 mm
Sample 447. Vertical grain. Good condition. Panel cradled. (It cannot be seen whether the panel is constructed from two separate boards or one split board due to the cradle.)
Antonio Moro, ca. 1560
223. The Dwarf of Cardinal de Granvelle Holding a Big Dog, Paris, Musée du Louvre (No. 2479, p. 65. Inv. no. 1583)
1270 × 930 mm (thickness not measurable)
Sample 101. Very good construction. Vertical grain. Four boards of unequal thicknesses. The differences in levels are obvious: the central boards have been sawn thinner, the wood has been split and then smoothed with an adze – the lateral boards are much thicker. The edges of the panel have been roughly thinned, particularly in the lower part.
Amsterdam
Jacob Cornelis van Oostzanen, Amsterdam, ca. 1515
224. The Donors, fragment, Amsterdam, Rijksmuseum (Inv. no. 722-A1)
900 × 570 × 18 mm
Sample 1161. Vertical grain. Good condition. Two boards. Three original cross-bars. One split.
Jacob Cornelis van Oostzanen, ca. 1516
225. Portrait of a Man, Paris, Musée du Louvre (Inv. no. R.F. 1945-20)
480 × 345 × 9 mm (arched panel)
Sample 278. Vertical grain. Good condition. Bare wood. The support is not reinforced.
Jacob Cornelis van Oostzanen, Amsterdam, ca. 1526
226. Saul with the Witch of Endor, Amsterdam, Rijksmuseum (Inv. No. 722)
875 × 1250 × 10 mm
Sample 1172. Vertical grain. Good condition. Six boards. Reverse is impregnated with wax. Panel cradled.
Cornelis Anthonisz, Amsterdam, dated 1533
227. Banquet at the Crossbowmen’s Guild, Amsterdam, Rijksmuseum (Inv. no. 366-A1)
1300 × 2065 × 17 mm
Sample 1171. Horizontal grain. Good condition. Five boards. Non-original cross-bars.
Pieter Aertsen, Amsterdam, ca. 1560
228. The Adoration of the Shepherds, fragment, Amsterdam, Rijksmuseum (Inv. no. 6)
900 × 600 × 26 mm
Sample 1168. Horizontal grain. Insect damaged. Four boards. Non-original cross-bars.
Pieter Pietersz, Amsterdam 1599
229. Syndics of the Draper’s Guild, Amsterdam, Rijksmuseum (Inv. no. 1881-B1)
1080 × 1430 × 14 mm
Sample 1169. Horizontal grain. Good condition. Three boards. Non-original cross-bars.
Friesland
Friesland School, ca. 1540–1560
230. Woman and Child, Paris, Musée du Louvre (No. 2641E, p. 54. Inv. no. M.I. 819)
545 × 360 × 4 mm (arched panel)
Sample 1138. Vertical grain. Very good condition. One board. Cradle. Inscription on glued paper on the upper part of the panel.
Haarlem
Maarten van Heemskerck, Harlem, 1538
231. Portrait of Colmannus, Amsterdam, Rijksmuseum (No. SK-C-507)
770 × 600 × 10 mm
Sample 1164. Vertical grain. Good condition. Three boards. A split of 150 mm on the right at the base of the panel. Later cross-bars.
South Holland
South Holland School (?), ca. 1430
232. The Life of Christ in 18 Scenes, Amsterdam, Rijksmuseum (Inv. no. 39)
1030 × 1675 × 23 mm
Sample 1170. Horizontal grain. Insect damage. Nine boards. Panel held in the rebate of the original frame. Five cross-bars, two original and three more recent. Image painted on marouflaged cloth.
The Master of Delft, ca. 1520
233. Centre of triptych: The Virgin and Child (wings: Male and Female Saints), Amsterdam, Rijksmuseum (Inv. no. 1538-L1)
845 × 680 × 16 mm
Sample 1163. Vertical grain. Good condition. Three boards. A ground and paint layer cover the surface. (The reverse of the wings are protected by a zinc plate which prevents study of the wood and the mode of construction.)
Leiden
Lucas of Leiden, ca. 1509
234. Lot and his Daughters, Paris, Musée du Louvre (No. 2640A, p. 63. Inv. no. R.F. 1185)
470 × 340 × 8 mm
Sample 276. Vertical grain. Insect damage. Panel not reinforced. Bare wood.
Lucas of Leiden, ca. 1520
235. The Virgin and Child, Amsterdam, Rijksmuseum (Inv. no. 1452-A1)
345 × 275 × 9 mm
Sample 1167. Vertical grain. Good condition. One board. Later cross-bars.
Utrecht
The Master of Rhenen, ca. 1500
236. The Siege of Rhenen, Amsterdam, Rijksmuseum (No. SK-A-1727)
1820 × 1430 × 22 mm
Sample 1162. Vertical grain. Good condition. Five boards. Panel held in the rebate of the original frame. Two reinforcing bars in the direction of the grain and two original cross-grain cross-bars.
Jan van Scorel, Utrecht, ca. 1540
237. Bathsheba, Amsterdam, Rijksmuseum (No. SK-A-670)
1030 × 2030 × 16 mm
Sample 1166. Horizontal grain. Good condition. Four boards. A 100 mm split top left and 80 mm split in the lower right of the panel.
Jan van Scorel, Utrecht, 16th century
238. Portrait of a Man, Amsterdam, Rijksmuseum (No. SK-A-3853)
470 × 340 × 13 mm
Sample 1165. Vertical grain. Good condition. One board. Panel held in the rebate of the original frame. Non-original cross-bars.
Italian School
Florence
Mariotto di Nardo, 15th century (museum attribution: School of Giotto)
239. The Virgin and Child with Six Saints, Paris, Musée du Louvre (No. 1314, p. 64. Inv. no. M.I. 369)
528 × 485 × 8 mm
Samples 660; 660A. Vertical grain. Good condition. One board. One wooden strip on the edge of the base of the panel. Significant warping of wood. Bare wood. Support not reinforced.
Lombardy
Copy after Gianpietrino of a painting by Leonard de Vinci, 16th century
240. Mary Magdalene, Nancy, Musée des Beaux-Arts (Inv. no. 1434)
680 × 490 × 7 mm
Sample 605. Vertical grain. Good condition. Crudely cut side panels, finely cut central panel. Edges of the panel are bevelled.
Rome
Nicolas and John Peintres, signed, first quarter of the 13th century
241. The Universal Judgement, Rome, Pinacoteca Vaticano (No. 526), from the convent of Santa Maria, Campo Marzio
2880 × 2430 × 40 mm
Sample 1155. Vertical grain. Insect damage. Panel cradled.
Venice
Venetian School, monogram (?), dated 1488
242. Appearance of the Virgin Surrounded by Cherubs, between St Jerome, a Cardinal and St Francis of Assisi, Carpentras, Museum (National Museum, Campana Collection, Inv. no. M.I. 490)
1150 × 1708 × 14 mm
Sample 581. Vertical grain. A number of old insect holes. Low cradle. Three splits. Imperial Museums label.
Tintoretto (Jacopo Robusti), 16th century
243. Portrait of a Man, Paris, Musée du Louvre (No.1472, p. 1107. Inv. no. M.I. 881)
418 × 324 × 5 mm (edges)
Visual examination. Horizontal grain. Good condition. Three boards. Image painted on marouflaged cloth. Reinforcing cloth on the upper part of the reverse. Edges of the panel are bevelled. Bare wood.
Portuguese School
Portuguese School, beginning of the 15th century
244. Portrait of King John I, Lisbon, Museu Nacional de Arte Antiga (No. 13A. Inv. no. 2006), from the Kunsthistorisches Museum, Vienna
415 × 325 × 6–10 mm
Sample 1043. Vertical grain. Very good condition. One board. A thin black layer of paint covers the surface through which the wood cut marks and grain are visible. In the centre is a coat of arms. Panel held in the rebate of the original frame.
Portuguese School, end of the 15th century
245–246. Two panels of a triptych: St Ursula and St Lawrence, Lisbon, Museu Nacional de Arte Antiga
245. St Ursula
1450 × 545 × 22 mm
Samples 1042 A, C. Vertical grain. Right board has much insect damage. Two boards of unequal width: left 190 mm; right 280 mm. Assembly dowels in oak (sample 1042C) in the middle of the left edge of the panel. Two cross-grain cross-bars at the ends of the support.
246. St Lawrence
1450 × 460 × 22 mm
Sample 1041. Vertical grain. Right board has much insect damage. Two boards of unequal width: left 275 mm, right 190 mm. Cross-grain cross-bars at the ends of the panel are between the panel and the oak frame (sample 1042B) and are attached with nails to the frame. The oak board at the upper part of two panels has a horizontal grain and is part of the frame and belongs to a more recent period (16th-century Manuelin style according to M. Reynaldo dos Santos 1955).
Portuguese School, end of the 15th century
247. Ecce Homo (Behold the Man), Lisbon, Museu Nacional de Arte Antiga (No. 12. Inv. no. 433)
890 × 650 × 10 mm (edges)
Sample 1037. Vertical grain. Many insect holes. Two boards. Panel thinned at the edges. Bare wood. Support not reinforced. On the front the wood grain is visible through the paint layer.
Frey Carlos, first quarter of the 16th century
248. St Francis Receives the Stigmata, Lisbon, Museu Nacional de Arte Antiga (No. 77. Inv. no. 276)
1770 × 770 mm (thickness not measurable)
Sample 1119. Vertical grain. Insect damage on the left side. Three boards. Quarter-sawn on the outer right side. Panel thinned at the edges.
Frey Carlos, first quarter of the 16th century
249. St Anthony and the Infant Jesus, Lisbon, Museu Nacional de Arte Antiga (No. 78. Inv. no. 64)
1730 × 740 mm (thickness not measurable)
Sample 1112. Vertical grain. Three boards. Crudely cut.
Frey Carlos, dated 1529
250. Our Lord Appearing to his Mother, Lisbon, Museu Nacional de Arte Antiga (No. 73. Inv. No. 2), from the convent of Espinheiro, Evora
1510 × 1190 mm (thickness not measurable)
Sample 1120. Vertical grain. Extensive insect damage. Many insect holes. Five boards. Panel thinned at the edges. Crudely cut then planed. Assembled with dowels, visible through both sides of the join at the top of three of the boards to the left of the panel.
Frey Carlos, 1517–1540
251. The Virgin and Child, Lisbon, Museu Nacional de Arte Antiga (No. 75. Inv. no. 1180), painted for the Jéronimos monastery, Lisbon
300 × 220 mm (thickness not measurable)
Sample 1091. Vertical grain. Good condition; a few insect holes. One board. Staining of the wood.
Frey Carlos, 1517–1540
252. The Good Shepherd, Lisbon, Museu Nacional de Arte Antiga (Inv. no. 1), from the convent of Espinheiro, Evora
1000 × 650 mm (thickness not measurable)
Sample 1114. Vertical grain. Extensive insect damage. Three boards. Panel thinned at the edges.
Frey Carlos, 1517–1540
253. The Ascension, Lisbon, Museu Nacional de Arte Antiga (No. 70. Inv. no. 83), from the convent of Espinheiro, Evora
1540 × 1200 mm
Sample 1113. Vertical grain. Extensive insect damage. Three boards. Crudely cut – the right board in particular. Trace of filasse in the joins. Panel thinned at the edges.
Portuguese School, early 16th century
254. The Resurrection, Tomar, Convent of Christ
4100 × 2520 × 35 mm (arched panel)
Sample 1087. Vertical grain. Ten boards. The support is held together by cross-bars. Assembly of the boards very rustic; probably flush-edge joints. A recent filler in the joints prohibits further examination. Boards of 2370–2500 mm length placed end-to-end to obtain the desired height. Roughly cut.
Portuguese School, beginning of the 16th century
255. Vasco da Gama, Lisbon, Museu Nacional de Arte Antiga, Comte de Farrobo Collection
250 × 200 × 4 mm
Sample 1082. Vertical grain. The frame covers a large area of the panel. The visible part, in the centre, has a ground layer.
Portuguese School, beginning of the 16th century
256. St John the Baptist Preaching, fragment, Lisbon, Museu Nacional de Arte Antiga (No. 40. Inv. no. 49) (apparently the same altarpiece as 255)
1400 × 1070 mm (thickness not measurable)
Sample 1066. Vertical grain. Good condition. Five boards. Staining of the wood. Crudely cut. Panel thinned to 11 mm at the edges. In the middle of the panel, there is a setting for a cross-bar.
Portuguese School, ca. 1515
257. Prince John and his Patron Saint, Lisbon, Museu Nacional de Arte Antiga
1580 × 680 mm (thickness not measurable)
Sample 1109. Vertical grain. Extensive insect damage. Three boards. A layer of red paint covers the surface. Panel thinned at the edges.
Portuguese School, first quarter of the 16th century
258. Maritime Scene, Greenwich, National Maritime Museum
760 × 1440 mm (thickness not measurable)
Sample 1069. Horizontal grain. Excellent condition. Three boards. Crudely cut in the middle of the board. Left edge of the panel thinned. Wood shows staining. Support not reinforced.
Portuguese School, first quarter of the 16th century
259. Hell, Lisbon, Museu Nacional de Arte Antiga (No. 24. Inv. no. 432)
1200 × 2170 × 15 mm (edges)
Sample 1051. Vertical grain. Good condition in general; some insect holes. Eight boards. Assembly dowels easily visible, between the second and third board on the left. The wood shows staining in places. Inventory number and crown brands. Panel thinned at the edges.
Portuguese School, middle of the 16th century
260. The Last Judgement, Lisbon, Museu Nacional de Arte Antiga (No. 25. Inv. no. 7), from the São Bento monastery, Lisbon
2140 × 1760 mm (thickness not measurable)
Samples 1103 A, B. Vertical grain. Insect damaged. Eight boards. The attachment points of four lost cross-bars. Traces of assembly dowels, on the edge of the left side of the support, with pieces of oak dowels (sample 1103B). Panel thinned at the edges.
Garcia Fernandez, 1514–1565
261. St Vincent, Coimbra, church of Santa Cruz
1260 × 550 × 6 mm (edges)
Sample 1062. Vertical grain. Very good condition. Two boards of unequal thickness. Crudely cut. Panel thinned from12 mm in places at the edges.
Cristóvão de Figueiredo, 1515–1540
262. Ecce Homo (Behold the Man), Coimbra, church of Santa Cruz
1850 × 1410 × 10 mm (edges)
Sample 1075. Vertical grain. Extremely damaged by insects. Five boards. Traces of two cross-bars. Panel thinned at the edges, two shoulders of 4 mm in depth.
Cristóvão de Figueiredo, 1515–1540
263. The Martyrdom of St Hippolytus, Lisbon, Museu Nacional de Arte Antiga (No. 35. Inv. no. 851), from the University of Coimbra
1170 × 1010 × 8 mm (edges)
Sample 1071. Vertical grain. Two boards on the left of the panel are insect damaged. Four boards. Support thinned at the edges.
Cristóvão de Figueiredo, 1515–1540
264. The Martyrdom of St Andrew, Lisbon, Museu Nacional de Arte Antiga (No. 36. Inv. no. 852), from the University of Coimbra
1180 × 1010 mm (thickness very irregular)
Sample 1070. Vertical grain. Very good condition on the whole; a few insect channels. Four boards. Split at the top of the second board and at the base of the third. First board on the right is roughly cut. Wood staining in places. A crown and the number 852 brands. Edges of the panel are bevelled.
Attributed to Cristóvão de Figueiredo, 1515–1540
265. Calvary, Setubal, Musée Municipal, from the church of La Misericórdia
2550 × 1550 × 25 mm
Sample 1088. Vertical grain. Very good condition. Six boards. Crudely cut. Traces of two cross-bar fixings. Bare wood.
Attributed to Cristovâo de Figueiredo, 1515–1540 (or the workshop of the presumed Jorge Afonso, first half of the 16th century)
265A. Christ Nailed on the Cross, Setubal, church of La Misericórdia
1960 × 1100 × 20 mm
Sample 1074. Vertical grain. Insect damage localised in bands. Six boards. Panel has been thinned at the edges, the upper part and the lower part. Marks indicative of two previous cross-bars. Wood stained in some places.
Francisco Henriques, 1509–1511
266. Apparition of our Lord to Mary Magdalene, Lisbon, Museu Nacional de Arte Antiga (No. 95. Inv. no. 381), from the São Francisco monastery, Evora
1460 × 1980 mm (thickness not measurable)
Sample 1086. Vertical grain. Insect damage across the whole surface. Eight boards. Three recent cross-bars attached with screws.
Francisco Henriques, 1509–1511
267. Sts Cosmas, Thomas and Damian, Lisbon, Museu Nacional de Arte Antiga (No. 93. Inv. no. 799), from the São Francisco monastery, Evora
2540 × 2060 × 8 mm (edges)
Sample 1079. Vertical grain. Insect damage on the side edge of the support. Eight boards. Some boards crudely cut. Panel thinned to 8 mm at the edges.
Gregorio Lopes, ca. 1500–1550
268. The Virgin and Child with Angels in a Garden, Lisbon, Museu Nacional de Arte Antiga (No. 55. Inv. no. 30), from the Ordem de Cristo monastery, Tomar
1270 × 1670 × 5 mm (edges)
Samples 1073, A–G. Vertical grain. Very good condition; a very few insect holes. Seven boards thinned in places. Traces of staining. Panel thinned to 3 mm at the edges.
Portuguese School, beginning of the 16th century
269. St Jerome, fragment, Lisbon, Museu Nacional de Arte Antiga (No. 41. Inv. no. 287) (belongs to the same altarpiece as 270)
1400 × 990 mm (uneven thickness)
Sample 1065. Vertical grain. Very good condition overall; some rare wormholes and tunnels in particular on the right of the second board . Four boards. Various cuts: by axe (first board); by saw (second board). Quarter-sawn and flat-sawn. A crown and the number 287 branded. The edges of the panel have been thinned. Evidence of a lost cross-bar is visible on the two outer boards.
Gregorio Lopes, 1514–1550
270. Salome, Tomar, Igreja de São João Batista
2420 × 1230 × 35 mm
Samples 1023; 1078. Vertical grain. Insect damaged in some places. Bare wood. Panel not reinforced.
Gregorio Lopes, 1514–1550
271. Gathering of Manna, Tomar, church of São João Batista
1740 × 1230 mm
Samples 1072 A–E. Vertical grain. Five boards. The first, second and fifth boards show insect damage at the edges. The two side boards are insect damaged in the lower part; some open tunnels overall. Quarter-sawn and flat-sawn. Edges of the panel have been thinned. Bare wood. Evidence of wood staining.
The Master of Abrantes, ca. 1550
272–275. Four boards, Abrantes, church of La Misericordia (painted for the Misericordia of Abrantes)
272. The Nativity
1210 × 870 mm (thickness not measurable)
Sample 1084. Vertical grain. Extensive insect damage. Four boards. Panel thinned at the edges.
273. Calvary
1210 × 870 mm (thickness not measurable)
Sample 1083. This panel is similar to 272.
274. The Way of the Cross
1210 x 870 mm (thickness not measurable)
Visual examination. This panel is similar in all respects to 273.
275. The Annunciation
1210 × 870 mm (thickness not measurable)
Sample 1085. Vertical grain. Seemingly good condition. Four boards. Panel thinned at the edges.
The Master of Louinha, first quarter of the 16th century
276. St John of Patmos, Lourinha, hospital of La Misericordia
1500 × 1370 mm (thickness not measurable)
Sample 1108. Vertical grain. Extensive insect damage. Two boards (?). Black staining of the surface.
The Master of Paraíso, 1530–1540
277–280. Altarpiece (four panels) (Nos. 44, 45, 46, 49. Inv. nos. 9, 10, 11, 14), Lisbon, Museu Nacional de Arte Antiga, originally from the monastery of Paraíso in Lisbon
277. Central panel: The Annunciation (Inv. no. 9)
1290 × 867 × 8 mm (edges)
Sample 1052. Vertical grain. Some insect tunnels. Three boards. Roughly sawn. Panel thinned to 10/12 mm at the edges. Wood stained. A crown and the number 9 branded.
278. The Nativity (Inv. no. 11)
1285 × 875 × 8 mm (edges)
Sample 1054. Vertical grain. Extensive insect damage. Three uneven boards. A crown and the number 11 branded.
279. The Visitation (Inv. no. 10)
1285 × 880 × 8 mm (edges).
Sample 1055. Vertical grain. Extensive insect damage. Three uneven boards. A crown and the number 10 branded.
280. The Flight into Egypt (Inv. no.14)
1280 × 875 × 8 mm (edges)
Sample 1053. Vertical grain. Some insect tunnels. Three boards. Wood stained. A crown and the number 14 branded.
The Master of Santa Auta, ca. 1520
281. The Martyrdom of 11,000 Virgins, Lisbon, Museu Nacional de Arte Antiga (No. 53. Inv. no. 1462), commissioned by Queen Eleanor for the church of La Madre de Deus, Lisbon (apparently from the same altarpiece as 282 and 283)
930 × 1920 (bottom) × 4 mm (top of half-ellipse)
Sample 1057. Vertical grain on the body of the main panel. Horizontal grain on the board at the top of the panel. Very good condition. Cradle.
The Master of Santa Auta, ca. 1520
282. St Ursula and Prince Conan, Lisbon, Museu Nacional de Arte Antiga (No. 54. Inv. no. 1462A), commissioned by Queen Eleanor for the church of La Madre de Deus, Lisbon (apparently the same altarpiece as 281 and 283)
680 × 730 × 15 mm
Sample 1068. Vertical grain. Good condition. Two unequal boards measuring respectively 235 and 480 mm in width, 670 and 720 mm in height. Panel thinned at the edges and painted on both sides. On the reverse: The Relics of St Anne Leaving Cologne.
The Master of Santa Auta, ca. 1520
283. Pope Cyriacus Blesses St Auta and Prince Conan, Lisbon, Museu Nacional de Arte Antiga (No. 55. Inv. no. 1462B), commissioned by Queen Eleanor for the church of La Madre de Deus, Lisbon (apparently from the same altarpiece as 281 and 282)
705 × 760 × 15 mm
Sample 1067. Vertical grain. Good condition. Two boards unequal in width measuring respectively 228 and 516 mm. Panel painted on both sides. On the reverse: The Relics of St Auta Arrive at the Church of La Madre de Deus, Lisbon. Panel thinned at the edges. Corners of the panel are rounded.
The Master of Santiago, beginning of the 16th century
284–287. Four scenes of a polyptych, Lisbon, Museu Nacional de Arte Antiga (Inv. nos. 17, 18, 20, 24, 28, 29, 31, 33)
284. The Proclamation of St James (Inv. no. 24)
1265 × 830 mm (uneven thickness)
Sample 1059. Vertical grain. Extensive insect damage. Four boards. Number 24 branded. Very crudely cut.
285. St James and Hermogenes (Inv. no. 20)
1280 × 840 mm (thickness not measurable)
Sample 1058. Vertical grain. Four boards. Each of the edges is extensively insect damaged. A crown and the number 20 branded. Very thick panel.
286. Investiture of a Knight into the Order of St James (Inv. no. 16)
1290 × 830 mm (thickness not measurable)
Sample 1060. Vertical grain. Some insect holes particularly on the first and second boards on the right of the panel. Four boards of unequal width and thickness. Quarter-sawn and flat-sawn. A crown and the number 16 branded.
287. Apparition of the Virgin to a Master of the Order of St James (Inv. no.18)
1290 × 835 mm (thickness not measurable)
Sample 1061. Vertical grain. Extensive insect damage. Four boards of unequal height, width and thickness. Measuring in width left to right: 130, 264, 280 and 157 mm. Quarter-sawn and flat-sawn (in particular the first and second boards on the right). A crown and number 18 branded.
The Master of Santos-O-Novo, ca. 1540
288–291. Four panels of an altarpiece (Nos. 59, 61, 62, 64. Inv. nos. 1170, 1172, 1173, 1175), Lisbon, Museu Nacional de Arte Antiga, from the Santos-O-Novo monastery, Lisbon
288. The Annunciation (Inv. no. 1170)
1355 × 1135 × 5 mm (edges)
Sample 1111. Vertical grain. Overall insect damage with the exception of the second board on the right of the panel. Five boards. Panel thinned to 6 mm at the edges.
289. The Adoration of the Magi (Inv. no. 1172)
1345 × 1140 × 5 mm (edges)
Sample 1110. Vertical grain. The boards in the centre of the support are in very good condition; those on the lateral sides have considerable insect damage. Four boards. Panel thinned to 10 mm at the edges.
290. Jesus in the Garden of Olives (Inv. no. 1173)
1340 × 1110 × 5 mm (edges)
Visual examination. This panel is similar in all respects to 288 and 289.
291. The Resurrection (Inv. no. 1175)
1325 × 1115 × 5 mm (edges)
Visual examination. This panel is similar in all respects to 288, 289 and 290.
The Master of São Bento, ca. 1520
292. The Visitation, fragments, Lisbon, Museu Nacional de Arte Antiga (No. 66. Inv. no. 4), from the monastery of São Francisco de Cidade, Lisbon (probably part of the same altarpiece as 293)
1810 × 1330 × 8 mm (edges)
Samples 1056 A, B. Vertical grain. Extensive insect damage. The panel seems to have an auxiliary board support panel; the samples taken on the two presumed panels indicate oak. Panel thinned at the edges. Joins and holes more recently filled.
The Master of São Bento (or the presumed workshop of Jorge Afonso), ca. 1520
293. The Adoration of the Magi, fragment, Lisbon, Museu Nacional de Arte Antiga (No. 67. Inv. no. 5), from the monastery of São Francisco de Cidade, Lisbon (part of the same altarpiece as 292)
1760 × 1330 × 23 mm (edges)
Sample 1089. Vertical grain. Insect damaged. Five boards. Panel thinned at the edges.
The Master of Sardoal, beginning of the 16th century
294. St Catherine and St Barbara, Lisbon, Vasco Bensaude Collection
560 × 710 × 7 mm
Sample 1076. Vertical grain. Very good condition in appearance. Three boards. Assembled with butt joints. Wood slightly stained.
The Master of Sardoal, beginning of the 16th century
295. Two Bishops with the Shield of Queen Eleanor and her Emblem, Evora, Museum
560 × 710 × 8 mm
Sample 1077. Vertical grain. Insect channels in the thinned areas of the support. Four uneven boards. Panel thinned at the edges.
School of the Master of Sardoal, beginning of the 16th century
296. St Vincent, Beija, Museum
1230 × 700 mm (thickness not measurable)
Sample 1063. Vertical grain. Good condition on the whole; some open insect channels. Three boards. Panel thinned at the edges. Staining of the surface.
Portuguese School, end of the 16th century
297. Portrait of a Nun, Lisbon, Museu Nacional de Arte Antiga (No. 19. Inv. no. 1450), from Palacio Nacional das Necessidades
750 × 540 × 5 mm
Sample 1081. Vertical grain. Very good condition. Two boards. Panel not thinned at the edges. Traces of a ground and paint on the reverse.
Lisbon
Nuno Gonçalves, ca. 1460–1467
298–303. St Vincent Polyptych, six panels, Lisbon, Museu Nacional de Arte Antiga (Nos. 1–6. Inv. nos. 1361–1366), painted for the monastery of Sao Vicente, Lisbon
298. Outer left panel: Three Benedictine Monks from the Alcobaça (Inv. no. 1363)
2070 × 645 × 12 mm
Sample 1045. Vertical grain. Three boards. Roughly cut. Quarter-sawn. Assembled with pegs visible on either sides of the joints, on the upper part of the panel; old peg holes are visible on the thinned wood. Other peg holes filled with a recent filler. Wood stained. The edges of the panel have been thinned.
299. Lower left panel: Three Fishermen with their Net (Inv. no. 1366)
2070 × 602 × 11 mm
Sample 1046. Vertical grain. Numerous insect channels. Three boards. Roughly cut. Joins show assembly peg holes filled with a recent filler. The panel is thinned at the edges. The wood is lightly stained.
300. Centre left panel: Panel of the King (Inv. no. 1361)
2050 × 1280 × 15 mm
Sample 1047. Vertical grain. Numerous insect channels with the exception of the outer left board. Seven boards measuring from left to right: 145, 210, 205, 200, 230, 210 and 80 mm in width. Crudely cut. Two central boards are quarter-sawn. Filled dowel holes. Bare wood. Traces of staining. Panel thinned at the edges.
301. Central right panel: The Archbishop (Inv. no. 1364)
2060 ×1282 × 14 mm
Sample 1048. Vertical grain. Numerous insect channels. Six boards, uneven in width (similar to 300). Roughly cut. The second and sixth boards from the left of the panel are quarter-sawn. Assembly dowels in the joins, filled with a recent filler. Trace of a dowel on the edge of the right side. The panel edges are thinned.
302. Interior right panel: The Second Duke of Braganza with his Sons (Inv. no. 1365)
2060 × 605 × 12 mm
Sample 1049. Vertical grain. Some insect holes and channels present. Three boards of uneven width. Roughly cut. Five dowels on the edge of the left side of the panel. Other dowels are visible in the joins. Wood stained. Panel thinned at the edges.
303. Outer right panel: A Monk Presenting the Relic of a Saint (Inv. no. 1362)
2650 × 640 × 12 mm
Sample 1050. Vertical grain. Very good condition. Three boards. Roughly sawn. Evidence of pegged assemblage on the joins and on the left side of the panel. No such evidence on the edge on the right side.
Nuno Gonçalves, 1450–1467
304. St Vincent Naked, Lisbon, Museu Nacional de Arte Antiga (No. 11. Inv. No. 1549), from the monastery of São Vicente de Fora, Lisbon
2090 × 890 mm (thickness not measurable)
Sample 1038. Vertical grain. Numerous open insect channels. Four boards. Roughly cut. The wood grain is visible through the paint layer.
Nuno Gonçalves, 1450–1467
305. St Theotonius, Lisbon, Museu Nacional de Arte Antiga (No.7. Inv. no. 1367), from the monastery of São Vicente de Fora, Lisbon
1150 × 880 × 10 mm
Sample 1040. Vertical grain. Good condition overall, despite the poorer condition of the outer left board. Four boards. Warped. Assembled with pegs, easily visible in the joints. The holes of previous pegs and the joints subsequently filled. Bare wood. Panel not reinforced.
Nuno Gonçalves (?), 1450–1467
306. St Francis, Lisbon, Museu Nacional de Arte Antiga (No. 8. Inv. no. 1344), from the monastery of São Vicente de Fora, Lisbon
1160 × 890 × 7 mm
Sample 1039. Vertical grain. Numerous open insect channels. Four boards. Warping of the panel. Bare wood. Support not reinforced. On the front, the wood is visible through the paint layer.
Nuno Gonçalves, 15th century
307. St Peter, Lisbon, Museu Nacional de Arte Antiga (No. 10. Inv. no. 1828)
2360 × 795 × 25 mm
Sample 1031. Vertical grain. Good condition.
Viseu
The Master of Viseu, beginning of the 16th century
308–311. Four scenes of a polyptych, Viseu, Museu Grão Vasco, painted for the cathedral of Viseu
308. The Nativity (Inv. no. 208)
1340 × 820 × 15–29 mm
Visual examination. Vertical grain. Good condition. Four boards. Panel thinned on the edges. Bare wood.
309. The Adoration of the Magi (Inv. no. 211)
1340 × 820 × 13 mm
Sample 1096. Vertical grain. Very good condition – in particular the central and right part of the panel. Three boards. The edges of the lateral sides are bevelled.
310. Our Lord in the Garden of Olives (Inv. no.214)
1340 × 820 × 29–15 mm
Sample 1094. Vertical grain. Three boards: the central one is in good condition. The side boards show insect damage.
311. The Descent from the Cross (Inv. no. 216)
1340 × 820 × 20–28 mm
Sample 1093. Vertical grain. Very good condition. Four boards. Roughly cut. This panel is not thinned on the edges.
Vasco Fernandez, ca. 1506–1511
312. Creation of the Animals, fragment from an altarpiece, Lamego, Museum, painted for the cathedral of Lamego
1700 × 850 × 40 mm
Samples 1102 A, B. Vertical grain. Very good condition. One board. Evidence of assemblage with pegs on the left side edge of the panel. Location of a former cross-bar and four oak dowels (sample 1102B), at the top of the panel. Edges of the support have a 35 mm bevel. Evenly cut, probably with a saw.
Vasco Fernandes, signed ‘Velascs’, 1535
313. The Descent of the Holy Spirit, Coimbra, church of Santa Cruz, originally from a chapel at monastery of Santa Cruz, Coimbra
1610 × 1630 × 8 mm (edges)
Sample 1097. Vertical grain. Good condition overall. Very few insect holes. Nine boards. Edges of the panel have been thinned.
Gaspar Vaz, 1531–1540
314. St Michael, collection of the Bishop of Lamego, painted for the monastery of São Joâo, Tarouca.
2150 × 1730 × 20 mm approx.
Sample 1092. Vertical grain. Good condition. Three boards. Bare wood. Panel thinned on the edges.
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