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Walnut
German School
Bohemia
Attributed to the Bohemian School, ca. 1390 (museum attribution: French School, 14th century)
[380] The Virgin among the Roses: The Virgin Sitting on a Throne, Worshipped by a Kneeling Bishop, Paris, Musée du Louvre (Inv. no. R.F. 2563)
340 × 210 × 15 mm (including the wooden strip)
Samples 413 A, B, C; 2020 A, B. Vertical grain. Good condition. One board. Four wooden strips frame the panel. A cream paint layer covers the surface with decorative motifs inscribed on the strips on the side edges. Panel painted on the front and reverse on marouflaged cloth.
Cologne
Stephan Lochner, 15th century
381–382. The Altarpiece of the Tribunal, two wings, Munich, Alte Pinakothek (Nos. W.A.F. 501, W.A.F. 502), Boisserée Collection
381. The Sts Anthony, Pope Cornelius and Mary Magdalene, lower part: A Kneeling Donor (No. W.A.F. 501)
1180 × 790 × 5 mm
Sample 485. Horizontal grain. Good condition. Two boards. Base cradle.
382. Sts Catherine, Hubert and Quirinus, lower part: A Kneeling Donor (No. W.A.F. 502)
1180 × 790 × 5 mm
Sample 486. This panel is similar to 381.
Spanish School
Barcelona
Joan Gascó, first third of the 16th century
383. Scene of Invalids at the Tomb of a Saint, panel from an altarpiece, Barcelona, Museu Nacional d'Art de Catalunya (Inv. no. 43801)
1473 × 888 × 18–25 mm
Sample 838. Vertical grain. Many insect holes. Four unequal boards. A layer of filasse, ground and paint covers the whole surface. Three large cross-bars are applied across the grain, fixed by nails inserted from the front of the panel.
Burgos
Castilian School, Burgos, ca. 1320
384–389. Funeral Processions, six panels, Barcelona, Museu Nacional d'Art de Catalunya (No. 4372), from the tomb of Don Sancho Saiz Carrillo, Mahamud
Considering the then arrangement within one frame, the panels are presented as follows, from bottom to top and from right to left:
384. First panel
580 × 884 × 30 mm
Sample 844A. Horizontal grain. Very good condition. Two boards. Assembly with lap joints, shallow shoulder. Two splits. Ground and textile across the joint. Panel painted on parchment. Panel not reinforced.
385. Second panel
513 × 868 × 30 mm
Sample 845. Horizontal grain. Very good condition. One board. Split near the base, reinforced with a strip of cloth and a ground layer. Panel not reinforced.
386. Third panel
522 × 855 × 27–30 mm
Sample 846 A. Horizontal grain. Very good condition. One board. A knot has been marouflaged. A layer of paint with ground covers the surface.
387. Fourth panel
538 × 876 × 28–30 mm
Sample 847. Horizontal grain (?). A few insect holes. Two boards assembled with lap joints, shallow shoulder. A coloured ground layer covers the surface.
388. Fifth panel
527 × 862 × 25–30 mm
Sample 849. Diagonal grain. Very good condition but some insect holes at the base. Two splits. A coloured ground covers the surface.
389. Sixth panel with heraldic motifs
530 × 853 × 30 mm
Sample 848. Horizontal grain. Very good condition. Two boards. Assembly with lap joints, shallow shoulder. A coloured layer of coating covers the surface.
Castile
Castilian School, 15th century
390. The Virgin of the Annunciation, Paris, Musée des Arts Décoratifs (Inv. no. P.E. 124)
1154 × 590 × 15–30 mm
Sample 961. Vertical grain. Numerous insect channels. One board. Shaped with an adze. A red paint layer covers the surface. Board of 45 mm on the left side of the panel.
Lleida
Johannes, signed, ca. 1200
391. St Martin, altar frontal. Barcelona, Museu Nacional d’Art de Catalunya (Inv. no. 3902)
1460 × 1000 × 20 mm
Samples 713 A–C. Vertical grain. Good condition. Image painted on marouflaged linen (sample 713C). Support made of Scots pine (sample 713B). (Examination incomplete, reverse inaccessible.)
Navarre
Navarre School, ca. 1320
392. Scenes from the Life of the Virgin, altar frontal, Barcelona, Museu Nacional d'Art de Catalunya (Inv. no. 4638)
897 × 1700 × 30 mm (with frame)
Samples 787 A–C. Horizontal grain. Very good condition of the panel; the cross-bars are insect damaged. One board. The top of the panel has been roughly cut. Two bars have been added at the top and at the base, expanding the support. Three beech cross-bars applied across the grain (sample 787B). Frame in beech (sample 787C), painted on the front, is an integral part of the panel’s painted scene. Large nails visible, attaching the frame from the front.
Flemish School
Hans Memling, ca. 1433–1494
393. Donor in Prayer under the Protection of St John the Baptist, fragment, Paris, Musée de Louvre (No. 2027 A, p. 51. Inv. no. R.F. 886) (belongs to the same set as 394)
253 (with wooden strip) × 160 (with wooden strip) × 3 mm
Sample 257. Vertical grain. Very good condition. Coniferous, irregular cradle consisting of four bars and two cross-bars. A wooden strip on each of the four side edges of the panel.
Hans Memling, ca. 1433–1494
394. The Mystical Marriage of St Catherine of Alexandria, fragment, Paris, Musée du Louvre (No. 2027, p. 51. Inv. no. R.F. 309) (belongs to the same set as 393)
252 × 152 × 4 mm
Sample 258. Vertical grain. Good condition. Two cross-bars applied across the grain. Bare wood.
French School
French School, 15th century, previously attributed to the Northern French School
395. Man with a Glass of Wine, Paris, Musée du Louvre (No. 1000, p. 276. Inv. no. R.F. 1585)
637 × 437 × 12 mm
Samples 1512 A–C. Vertical grain. Good condition with slight insect damage on the lateral sides of the central panel. One board expanded with two oak boards (samples1512B and 1512C), measuring 36 mm in width at the top on the left and 38 mm on the right. At the base, the right board measures 45 mm. Shoulders of 2 mm in depth, 6 mm in height, at the lower part of the panel. Traces of planing at the centre. Edges of the four sides are thinned to a width of approx. 80 mm. Large knot on the lower right part. A red paint covers the surface.
Workshop of François Clouet, 16th century
396. Portrait of the Bust of Henry II, Paris, Musée du Louvre (No. 131A, p. 36. Inv. no. 3260)
384 × 292 × 5–6 mm (base); 8 mm (top)
Sample 421. Vertical grain. Flat-sawn. Good condition. Knots. Warping of the support. Bare panel.
Corneille de Lyon
397. Unknown Portrait, Paris, Musée du Louvre (No. 1008, p. 280. Inv. no. 3258)
158 × 133 × 4 mm
Visual examination. Vertical grain. Good condition. Bare panel.
Imitator of Corneille de Lyon, ca. 1540
398. Portrait of a Man, Paris, Musée du Louvre (No. 1011B, p. 282. Inv. no. 9451), Roger de Gaignières Collection
220 × 152 × 7 mm
Sample 262. Vertical grain. Good condition. Inscription: black letters on a cream-coloured background. A seal at the top on the right of the panel. Edges of the support are slightly bevelled on the right side.
Attributed to Corneille de Lyon, ca. 1548
399. Portrait of Louise de Rieux, Marquise d’Elbeuf, Paris, Musée du Louvre (No. 1011A, p. 282. Inv. no. R.F. 669)
163 × 126 × 4 mm
Sample 263. Vertical grain. Excellent condition. One board. A split at the base of the panel. Unevenly cut on the lateral sides. An inscription directly onto the wood, another on glued paper. Bare panel.
French School, first half of 16th century
400. Portrait of Guillaume, Baron de Montmorency, Paris, Musée du Louvre (No. 1007A, p. 280. Inv. no. 9446B)
380 × 280 mm (thickness not measurable)
Sample 11. Vertical grain. Good condition. Panel has an auxiliary support panel in oak (visual examination). Inscription: black letters on a cream-coloured background.
French School, ca. 1500
401. Portrait of Guillaume de Montmorency. Lyon, Musée des Beaux-Arts (Inv. no. B. 441)
370 × 270 × 3 mm
Samples 436; 486. Vertical grain. Slight insect damage. Warping of the wood. Splits on the edges. Panel reinforced.
French School, 16th century
402. Gentleman of the Court of Charles IX, Paris, Musée du Louvre (No. 3161, p. 284. Inv. no. R.F. 2162)
837 × 625 × 6–8 mm
Sample 931. Vertical grain. Very good condition in general but the wood at the base of the panel is in less good condition. Two unequal boards; the left board measures 128 mm in width and the right 497 mm. Wide cradle. Bare wood.
French School, 16th century
403. Portrait of Lorenzo de Medici, Paris, Musée du Louvre (No. 1008A, p. 281. Inv. no. 9617)
185 × 153 × 5 mm
Visual examination. Horizontal grain. Good condition. One board. Panel has an auxiliary support panel in softwood measuring 4 mm in thickness. Inscription on a cream-coloured background.
French School, 16th century
404. Peace, Aix-en-Provence, Musée des Beaux-Arts (No. 188, p. 87. Inv. no. 41)
990 × 750 × 20 mm
Samples 395; 990. Vertical grain. Insect damage. Recent cloth on a split. A layer of a thick ground and brown paint covers the surface. A cross-grain cross-bar at both ends of the panel.
Avignon
Avignon School, first period, ca. 1460
405. The Avignon Pietà, Paris, Musée de Louvre (No. 1001 B, p. 277. Inv. no. R.F. 1569)
1630 × 2180 mm (thickness not measurable)
Sample 59. Horizontal grain. Insect damage. Three boards (?); the one at the base of the panel is narrower. (Examination incomplete, reverse inaccessible.)
Avignon School, second period, ca. 1475
406. St Siffrein, Avignon, Musée Calvet (No. 14)
2100 × 800 × 30 mm
Sample 653. Vertical grain. Much insect damage. Six metal reinforcement pieces on the lateral sides of the panel. A 100 mm wide board on the right side.
Avignon School, ca. 1480–1490
407–409. The Venasque Altarpiece, three panels, Avignon, Musée Calvet (No.7), from the church at Venasque (Vaucluse)
407. Central panel: A Pope (St Peter?)
1500 × 600 × 50 mm approx. (with frame)
Samples 655, 1160A, 1380 C, D. Vertical grain. Poor condition. Boards loose. Gothic frame in walnut (sample 1380D). The three panels are held together by two vertical Gothic wooden strips, measuring 120 mm in width. The upper part of the frame, raised by 500 mm, canopy shape.
408. Left panel: St Maurice
1500 × 600 × 50 mm approx. (with frame)
Samples 1160B; 1380A. This panel is similar to 407.
409. Right panel: St Martha
1500 × 600 × 50 mm approx. (with frame)
Samples 1160C; 1380B. This panel is similar to 407 and 408.
Dijon
Dijon Workshop, ca. 1380–1390
410. Pietà with a Monk in Prayer, Brussels, Musées Royaux des Beaux-Arts (No. 1164), Weiler Collection, then Berstl
260 × 215 × 10 mm approx.
Sample 1532. Vertical grain. Much insect damage. Two unequal boards, measuring 100 mm on the left and 113 mm on the right. Integrated frame carved from the mass of the wood on the front, approx. 25 mm in width. The wood is bare in this location and the paint surface is reduced to 214 × 183 mm. Traces of decorative paint on the reverse.
Dijon Workshop (French-Flemish art), ca. 1390–1400
411. Small Round Pietà of the Louvre, Paris, Musée du Louvre (No. 3158, p. 273. Inv. no. R.F. 2216)
Diameter 227 mm; thickness 5–9 mm (without frame)
Samples 29; 29A; 251. Diagonal grain. Very good condition. The integral frame shows a slight split on the reverse. On the reverse, nails and a crown of thorns painted on a red background.
Loire
Touraine School, 16th century, copied after the original by de Fouquet (since lost)
411A. Portrait of King Louis XI, in Profile, New York, Brooklyn Museum of Art (No. 32819), Friedsam Collection
375 × 275 mm
Sample 1543. Horizontal grain. Insect damage. One board. Panel cradled.
Provence
Provence School, ca. 1440
412. The Vision of Peter of Luxembourg, Avignon, Musée Calvet (Inv. no. 3)
790 × 600 × 5 mm
Sample 650. Vertical grain. Seemingly good condition. Bare wood. Panel not reinforced.
Provence School, ca. 1470
413. St Anthony, Father of Cenobites, with a Black Boar, fragments of an altarpiece, Carpentras, Musem (No. 198), from Saint-Siffrein cathedral
1444 × 738 × 30 mm
Sample 614. Vertical grain. Much insect damage. Two boards. Double dovetail keys in the join of the boards. Two side holes without a defined role in the assembly of the actual panel. Recent wooden framing strips on the front. One split.
Provence School, ca. 1475
414. The Crucifixion: Christ on the Cross between the Virgin, St John and Two Donors, Presented by St Sebastian and St Giles, Aix-en-Provence, Musée Paul Arbaud (No. 1)
670 × 1890 × 30 mm
Samples 402 A, B. Horizontal grain. Insect damage particularly at the base. Two boards. A 15 mm walnut strip (sample 402A) on the edge of the base of the panel. A layer of filasse within a ground layer covers the surface.
Provence Workshop, ca. 1500
415. The Adoration of the Child, Avignon, Musée Calvet (No. 9)
950 × 1200 × 10 mm
Sample 656. Horizontal grain. Good condition. Five boards. Two cross-grain cross-bars. Bare wood.
Attributed to Jean Rollier and Ginet Chamier, ca. 1535
416. The Adoration of the Magi with St Honoré and St Maur, Carpentras, Musée Municipal
2320 × 2040 × 30 mm
Sample 648. Vertical grain. Insect damage. Three cross-grain cross-bars. Three splits.
Provence School, dated 1548 (museum attribution: Symons de Chalons)
417. The Adoration of the Shepherds, Avignon, Musée Calvet (No. 16)
1480 × 1400 × 130 mm
Sample 677. Vertical grain. Apparent good condition; insect holes on the face. Three boards. Two cross-bars at the sides; a segment of a cross-bar in the centre.
Antonio Ronzen, 1518–1520
418–419. The Altarpiece of the Passion, ensemble, Saint-Maximin, Dominican church
418. Central panel: The Crucifixion
2340 × 1760 × 27 mm
Sample 374. Vertical grain. Extensive insect damage. Three boards. Large cross-bar applied across the grain along the bottom, attached to the panel by iron pitons, which are braced with two iron cross-bars and inserted from the front. At both ends of the cross-bar at the base of the panel are the mortises of a scarf joint.
419. Altar frontal: The Entombment
755 × 1760 × 43 mm
Sample 375. Horizontal grain. Two boards. Strips of cloth on the joins. Traces of a mortice at the top. A layer of hemp filasse covers the whole surface of the two panels, beneath the paint layer.
Rhône
The Master of St Sebastian, ca. 1490–1495
420. The Marriage of the Virgin, Brussels, Musées Royaux des Beaux-Arts de Belgique (No. 634)
805 × 602 (with added strip) × 9 mm
Samples 1529 A, B. Vertical grain. Apparently in good condition. An auxiliary oak support panel (visual examination), composed of two boards with vertical grain measuring 8 mm in thickness. A 7 mm wide walnut strip (sample 1529B) on the edges of the lateral sides. Two splits in the front; one 200 mm on the right side; the other 57 mm on the left side.
The Master of St Sebastian, ca. 1500
421. The Adoration of the Child, fragment, Paris, Musée du Louvre (Inv. no. R.F. 966)
380 × 470 × 10–17 mm
Samples 208; 414. Vertical grain. Insect damage on the edges. Panel painted on both sides. On the reverse: lower part of the figure of a bishop.
Dutch School
School of the former Low Countries, 14th century
422. Scenes from the Life of the Virgin, panel from a chest, Brussels, Musées Royaux des Beaux-Arts (No. 999)
630 × 2740 × 25 mm
Sample 1533. Horizontal grain. Excellent condition. One board. Big knot on the lower left side of the panel. The sides of the upper corners have been cut. The four edges are chamfered. Draw-knife marks to the left of the panel. Several wooden dowels.
Italian School
Italian School, end of the 14th century (museum attribution: Art Provençal, 14th century)
423–424. Two panels from the same ensemble, Lyon, Musée des Beaux-Arts (Inv. no. X.60, C and D)
423. The Crucifixion
310 × 230 × 10 mm
Samples 489 (Lyon); 1516. Vertical grain. Open insect channels. One board. Panel not reinforced. Paint covers the surface.
424. Carrying the Cross
310 × 230 × 10 mm
Sample 1517. Construction of the panel is similar to 423.
Cremona, Venice
Bartolomeo Veneto, 16th century, previously attributed to Lorenzo Costa (museum attribution: Venetian School, 16th century)
425. Portrait of a Woman (said to be Isabelle d’Este), Paris, Musée du Louvre (No. 1673, p. 153. Inv. no. 894)
690 × 538 × 5 mm
Sample 92. Vertical grain. Good condition: some insect holes. One board. Panel not reinforced. Bare wood.
Ferrara
Ercole de’ Roberti, end of the 15th century
426. St Apollonius, Paris, Musée du Louvre (No. 1677, p. 106. Inv. no. R.F. 1271) (paired with 427)
265 × 110 × 8 mm (edges)
Sample 52. Vertical grain. Excellent condition. Edges of the panel are bevelled to 15 mm in width where the thinning is to 4–7 mm. Surface of the wood is absolutely smooth. Inscription on glued paper.
Ercole de’ Roberti, end of the 15th century
427. St Michael, Paris, Musée du Louvre (No. 1677B, p. 106. Inv. no. R.F. 1271) (paired with 426)
264 × 110 × 8 mm (edges)
Visual examination. Vertical grain. Excellent condition. Edges of the panel are bevelled to 15 mm in width where the thinning is to 4–7 mm. Surface of the wood is absolutely smooth. Inscription on glued paper.
Florence
Leonardo da Vinci, end of the 15th/beginning of the 16th century
428. St John the Baptist, Paris, Musée du Louvre (No. 1597, p. 137. Inv. no. 775)
743 × 567 × 13 mm
Sample 89. Vertical grain. Very good condition; a very few insect holes. Traces of saw marks on the top edge of the panel. A thin coating covers the surface. Support not reinforced.
Leonardo da Vinci, end of the 15th/ beginning of the 16th century
429. Portrait of an Unknown Woman (also known as La Belle Ferronnière), Paris, Musée du Louvre (No. 1600, p. 139. Inv. no. 778)
635 × 445 × 12 mm
Sample 88. Vertical grain. Good condition: a few insect holes. The surface of the wood is perfectly smooth. Panel not reinforced. Bare wood.
School of Leonardo da Vinci, 16th century
430. The Virgin and Child, Paris, Musée du Louvre (Schlichting Collection, unnumbered, p. 140. Inv. no. R.F. 2112)
478 × 350 × 10 mm
Sample 661. Vertical grain. Insect damage. One board. Panel not reinforced.
After Leonardo da Vinci, 16th century
431. The Virgin, Infant Jesus and St John the Baptist, Paris, Musée du Louvre (No. 1606, p. 140. Inv. no. R.F. 198)
393 × 310 × 8–10 mm
Sample 1034. Vertical grain. Very good condition. Cut with a saw. Wooden strips on the edges of the lateral sides and the base of the panel. Brand mark. Surface stained. Panel warped. Support not reinforced. Inscription.
Central Italy
School of Raphael, 16th century
432. Abundance, fragment, Paris, Musée du Louvre (No. 1510, p. 117. Inv. no. 657) (for another panel from the same ensemble see 541)
385 × 314 × 3 mm
Sample 241. Vertical grain. Excellent condition. One board. Panel slightly warped. Edges thinned at the top and bottom.
Portuguese School
Portuguese School, 15th century (copy of the original made in the workshop of Nuno Gonçalves, 15th century)
433. Princess Joana, Aveiro, Museu da Cidade de Aveiro
630 × 431 × 12 mm
Sample 1044. One board (?). A thick brown paint covers the whole of the surface. Edges of the panel are thinned at the top and the bottom.
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