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Poplar
German School
Attributed to Mathis Gothardt-Neithardt, called Grünewald, ca. 1479
435. Man with a Bird Cage, fragment, Strasbourg, Musée des Beaux-Arts (No. 16. Inv. no. 464)
725 × 475 × 15 mm approx.
Sample 1387. Vertical grain. Insect damage. One board. Knot repaired with a piece of wood, visible from the front. Cut with an adze. Edges of panel bevelled. Support not reinforced.
Spanish School
Spanish School, 15th century (museum attribution: German School, 15th century)
436. The Ascension, Besançon, Musée des Beaux-Arts (Inv. no. 899.I.19)
493 × 400 × 15 mm
Sample 586. Vertical grain. Quite good condition; a little insect damaged, in particular on the right side. Two unequal boards, measuring respectively 135 and 265 mm in width. Panel is slightly warped. Trace of filasse on the joint. Support not reinforced. Bare wood. The front is covered with a cloth contained within a 2–3 mm thick ground layer.
The Master of Gil (Miguel Alcañiz), 1421–1434
437. Scenes from the Legend of St Michael, fragments, Lyon, Musée des Beaux-Arts (Inv. no. B 1174 A and B)
2100 × 735 × 15 mm
Sample 495. Vertical grain. Insect damage.
Aragon
Aragonese School, Saragosse (?), 16th century
438. The Adoration of the Magi, Barcelona, Museu Nacional d’Art de Catalunya (No. 5688)
1810 × 1503 mm (thickness not measurable)
Sample 907. Vertical grain. Four boards (?). Double dovetail dowels across the joints of the boards are visible only from the front. Secondary support with two cross-bars, crossed and inserted. Two other very thin cross-bars are applied across the grain. Linen (probably) strips across the face of the board joints.
Barcelona
Ramón Destorrents, ca. 1350
439. St Matthew, panel of a polypytch (other panels of the same polypytch are in the Musée de Lille), Barcelona, Museu Nacional d’Art de Catalunya (No. 15909)
775 × 280 × 10 mm approx.
Sample 912. Vertical grain. Much insect damage. One board. Cloth on the front, particularly on the frame. Panel warped.
The Master of St Mark, assumed to be Ramón Destorrents, second half of the 15th century
440. The Annunciation and The Adoration of the Magi, lateral panel of an altarpiece, Barcelona, Museu Nacional d’Art de Catalunya (No. 15855), from Cardona
2370 × 1470 × 14 mm (without frame)
Sample 799. Horizontal grain. Good condition. Several registers painted on the same panel.
The Master of San Vicenç dels Horts, ca. 1350
441. St Vincent, panel from an altarpiece, Barcelona, Museu Nacional d’Art de Catalunya (No. 54537)
1810 × 1070 × 17 mm (uneven thickness)
Sample 809. Vertical grain. Good condition. Three boards. Textile strips across the joints. Assembled with flush-edge joints. Four cross-bars applied across the grain and two original cross-braces.
Workshop of Brother Jaume and Pere Serra, ca. 1370
442–444. The Altarpiece of St Stephen, three panels. Barcelona, Museu Nacional d’Art de Catalunya (No. 3947)
The three panels are mounted in the same frame:
442. Right panel
1860 × 575 × 18 mm (without frame)
Sample 914A. Vertical grain. (Examination incomplete, reverse inaccessible.)
443. Central panel
1860 × 562 × 18 mm (without frame)
Sample 914B. Vertical grain. (Examination incomplete, reverse inaccessible.)
444. Left panel
1860 × 580 × 18 mm (without frame)
Sample 914C. Vertical grain. (Examination incomplete, reverse inaccessible.)
Pere Garcia de Benabarre, ca. 1455
445–447. The St Quiricus and St Julietta Altarpiece, Barcelona, Museu Nacional d’Art de Catalunya (Nos. 54554, 54896, 54898), from the high altar of the church of Sant Quirze de Galliners or Sant Quirze de Tarrasa
445. Central panel
2520 × 945 × 15 mm
Samples 802 A–C. Vertical grain. Support in very good condition but the cross-bar has insect damage. Three boards. Two strips of textile across the joints. Secondary support composed of four central poplar cross-bars (sample 802B). Cross-bars assembled with dovetail joints. The members of the secondary support show evidence of mortises on the outer edges of the sides. The carved elements of the face are in Scots pine (sample 802C).
446. Right panel
2270 × 704 × 15 mm (upper right side is arched)
Sample 803. Vertical grain. Very good condition. Three boards. Strips of textile across one of the joins. Secondary support composed of four central cross-bars. Assembled with dovetail joints. Painted scene on marouflage canvas.
447. Left panel
2250 × 720 × 15 mm (upper left side is arched).
Sample 804. Vertical grain. Very good condition. Three boards. One strip of textile across the join. Secondary support composed of four central cross-bars. Assemblage.with dovetail joints. Partially painted on canvas.
Jaume Huguet, ca. 1455–1456
448–449. The St Michael Altarpiece, side panels, Barcelona, Museu Nacional d’Art de Catalunya (Nos. 37751 and 37757), painted for the grocers’ fraternity, from the church of Santa Maria del Pi, Barcelona
448. The Virgin among the Saints (No. 37757)
1360 × 1335 × 17 mm
Sample 865. Vertical grain. Very good condition; some insect holes localised on the edges of the panel. Four boards. Strips of textile over the joins. The original engaged frame has one central cross-bar. The members of the frame are assembled with mortise and tenon joints; the cross-bar with a dovetail joint. Painted scene on marouflage canvas.
449. Scenes from the Legend of Archangel St Michael (No. 37751)
1450 × 1070 × 15 mm
Sample 866. Vertical grain. Very good condition. Insect holes on the edges of the support. Three boards. Construction is similar to 448.
Jaume Huguet, ca. 1456–1460
450–454. The St Vincent Altarpiece, five panels, Barcelona, Museu Nacional d’Art de Catalunya (belongs to the same altarpiece as 461–464), from the parish church of San Vicente de Sarriá.
450. Confession of the Saint (No. 24118)
1760 × 985 × 19 mm
Sample 821A. Vertical grain. Good condition. Three boards. Strips of canvas over the joints. The secondary support has three central cross-bars. Members of the secondary support assembled with mitre joints; cross-bars joined with dovetail joints. Bare wood. Painted scene on marouflage canvas.
451. Ordination to the Holy Diaconate (No. 15866)
1760 × 985 × 19 mm
Sample 822. Thispanel is similar to 450.
452. A Miracle by the Saint (No. 24138)
1660 × 980 × 19 mm
Sample 823. This panel is similar to 451.
453. Scene of the Martyrdom on the Cross of St Vincent (No. 24134)
1660 × 980 × 17 mm
Sample 820. Similar to 452. The right-hand member of the secondary support is missing.
454. St Vincent at the Stake (No. 24135)
1653 × 975 × 19 mm
Sample 824. This panel is similar to 453.
Jaume Huguet, ca. 1468–1486
455. The St Augustine Altarpiece: The Episcopal Consecration of St Augustine, one panel, Barcelona, Museu Nacional d’Art de Catalunya (No. 24140), from the high altar of the Augustinian friary of Sant Agustí Vell
2500 × 1890 × 23 mm
Sample 825. Vertical grain. Fairly good condition. Five original cross-bars. Original frame.
Bernat Martorell, ca. 1425–1430
456–458. The St John the Baptist Altarpiece, three panels, Barcelona, Museu Nacional d’Art de Catalunya (Nos. 54561, 54825, 54894), from the church of San Feliu de Cabrera de Mataro
456. Right panel
1480 × 439 × 15 mm
Samples 806 A, B. Vertical grain. Overall insect damage. One board. The secondary support comprises one cross-bar made of poplar (sample 806B), assembled with dovetail joints and attached to the support with nails inserted through the face. Inscription in black letters.
457. Left panel
1480 × 445 × 15 mm
Sample 808. Vertical grain. Fairly good condition of the panel, extensive insect damage on the cross-bar. One board. Secondary support with a central cross-bar, assemblage similar to 456. Inscription in black letters.
458. Central panel
1475 × 715 × 12 mm
Sample 807. Vertical grain. Some open insect tunnels. Two boards. Assembled with flush-edge joints. One split. Secondary support with two central cross-bars. Bare wood. The cross-bar at the top of the secondary support is missing. Image is painted on marouflage canvas. Inscription in black letters.
Workshop of the Jaume brothers and Father Serra, 15th century
459. The Adoration of the Magi; The Resurrection; The Nativity; fragments of an altarpiece, one panel. Paris, Musée des Arts Decoratifs (Inv. no. D. 8163)
1580 × 550 × 10–15 mm (arched panel)
Samples 958 A, B. Vertical grain. Very good condition. One board. Two splits: a wedge filler in the left split, strip of textile across the other. Evenly cut, probably with a saw. Three surface-mounted, cross-grain cross-bars, and two diagonal braces in poplar wood (sample 958B). The pointed ends of nails are visible on the braces.
Anye Bru, ca. 1504–1507
460. The Martyrdom of St Cucuphas, Barcelona, Museu Nacional d’Art de Catalunya (No. 15840), from the monastery of Sant-Cugat del Vallès
1570 × 1320 × 16 mm
Samples 826 A, B. Vertical grain. Insect damage. Four boards. ‘Enduit’ on the joins. Four cross-grain cross-bars. At the top, the panel and the last cross-bar have auxiliary support.
Catalan School, Barcelona, ca. 1510
461–464. The St Vincent Altarpiece, four panels (sequel of Nos. 450–454), Barcelona, Museu Nacional d’Art de Catalunya, from the parish church of San Vicente de Sarriá
461. The Death of St Vincent (No. 24137)
1760 × 978 × 18 mm
Sample 810. Vertical grain. Good condition. Insect holes. Three boards. Filasse glued across the joins. Secondary support with three central cross-bars. Heads of nails visible on the front, at the top and at the bottom of the panel. The left-hand member of the secondary support is missing.
462. The Flogging of St Vincent (No. 24120)
1960 × 985 × 18 mm
Sample 812. Vertical section. Very good condition. Four boards. Filasse glued across the joins. Secondary support with four central cross-bars. The bars of the support are assembled using mitre joints and held with nails; the cross-bars are assembled with dovetail joints. The right-hand member of the secondary support is missing.
463. Sts Vincent and Valerie in Prison (No. 24119)
1860 × 985 × 15 mm
Sample 811. Vertical grain. Good condition, a few insect holes. Three boards. No filasse over the joins. Secondary support with three central cross-bars. The two members of the secondary support are missing.
464. St Vincent on the Gridiron (No. 24136)
Sample 813. Vertical grain. Very good condition, very few insect holes. Three boards. Filasse over the joins. Secondary support has three cross-bars. Members of the secondary support are assembled with mitre joints and attached with nails; the cross-bars are assembled with dovetail joints. The right-hand member of the secondary support is missing.
Catalan School, Barcelona, first quarter of the 16th century
465. St Christopher and Jesus, fragments from an altarpiece, Barcelona, Museu Nacional d’Art de Catalunya (No. 53718)
1900 × 1180 × 18 mm
Samples 696 A–C. Vertical grain. Some insect holes. Two boards. Assembled with flush-edge joints. Strips of filasse and ground glued across the joins. Secondary support has four central cross-bars in Scots pine (sample 696C). Assemblage of cross-bars to secondary support with dovetail joints. The whole is attached to the support with nails inserted from the front.
Attributed to Joan Gascó, ca. 1502
466–469. The St Stephen Altarpiece, four panels, Barcelona, Museu Nacional d’Art de Catalunya, from the parish church of Granollérs (for the rest of the altarpiece see 476 and 477)
466. The Patriarch Abraham (No. 24152)
2330 × 695 (without frame) × 15 mm
Sample 814A. Vertical grain. Good condition. One board. A layer of filasse applied to the surface. Two cross-bars are attached across the grain with nails inserted through from the face of the panel. Left edge of the support bevelled.
467. King David (No. 24150)
2110 × 595 × 22 mm
Sample 817. Vertical grain. Fairly good condition. This panel is similar to 466. On this panel the filasse is largely missing.
468. The Prophet Isaiah (No. 24151)
2250 × 645 × 15 mm
Samples 815 A, B. Vertical grain. Good condition overall; the lower part shows extensive insect damage. One board. A layer of filasse and ground were laid on the surface. Two cross-grain cross-bars in poplar (sample 815B). The system of attachment is similar to 466 and 467. Edges of the panel not bevelled.
469. The Prophet Moses (No. 24149)
2090 × 455 × 22 mm.
Sample 816. Vertical grain. Extensive insect damage. One board. A layer of filasse and ground covers the surface. Marks of the original cross-bars. Edges of the panel not bevelled.
Pedro Nunyz (Nunez or Nunyes), ca. 1526–1529
470–475. The St Eligius Altarpiece: Scenes from the Life of St Eligius, six panels, Barcelona, Museu Nacional d’Art de Catalunya, from the chapel of the Guild of Goldsmiths, Barcelona
From right to left:
470. Panel on the far right: St Eligius entering Noyon (No. 15893)
1320 × 1110 (without frame) × 17 mm
Samples 829 A, B. Vertical grain. Very good condition. Five to six boards. Assembled with butt joints. Two original cross-bars in iron attached across the width of the panel. A layer of cloth and ground were laid on both sides of the panel. Figures painted in grisaille on the reverse.
471. Inner right panel (No. 24255)
1315 × 1120 (without frame) × 17 mm
Sample 830. Vertical grain. Very good condition. Three boards. Splits. The assemblage, reinforcement and protection are similar to 470.
472. Central right panel (No. 24254)
1425 × 1115 (without frame) × 17 mm (semicircular arched panel)
Sample 831. Vertical grain. Very good condition. Three boards. Assembled with flush-edge joints. Two original cross-bars in iron inserted across the width of the panel. A layer of filasse and ground applied to both sides of the panel. Figures painted in grisaille on the reverse.
473. Central left panel (No. 24253)
1410 × 1100 mm (without frame – semicircular arched panel)
Sample 832. Vertical grain. Very good condition. Five boards. Assembled with flush-edge joints. One original cross-bar inserted. Evidence of paint.
474. Inner left panel (No. 24252)
1315 × 1120 (without frame) × 17 mm
Sample 832A. Vertical grain. Very good condition. Four boards. (The reverse of the panel is inaccessible.)
475. Outer left panel (No. 24250)
1320 × 1110 (without frame) × 17 mm
Sample 832C. Vertical grain. Very good condition. Five to six boards. Assembled with flush-edge joints. Two original iron cross-bars inserted across the width of the panel. A layer of filasse and ground were laid on both sides of the panel. Figures painted in grisaille on the reverse.
Workshop of the Vergos brothers, ca. 1500
476–477. The St Stephen Altarpiece, side panels, Barcelona, Museu Nacional d’Art de Catalunya, from the parish church of Granollers (for the rest of the altarpiece, four panels attributed to Joan Gascó, see 466–469)
476. A Miracle of St Stephen (No. 24147)
1730 × 1230 × 22 mm
Samples 818 A, B. Vertical grain. Three boards. Strips of cloth over the joins. The secondary support has three cross-bars; the central cross-bar is made of poplar (sample 818B). Members of the secondary support assembled with mortise and tenon joints, attached with nails. Bare wood.
477. The Ordination of St Stephen (No. 24144)
1745 × 1140 × 18 mm
Sample 819. This panel is similar to 476.
Catalonia
Catalan School (?), ca. 1150 (?)
478–481. The Virgin Mary and the Three Kings Polyptych, six panels, Barcelona, Museu Nacional d’Art de Catalunya (first and sixth panels in oak, see 62 and 63)
From left to right (front face):
478. Second panel
702 × 147 × 15 mm (semicircular arched panel)
Sample 721B. Vertical grain. Extensive insect damage. One board. On the reverse are fragments of cloth and decorative paint.
479. Third panel
700 × 145 × 14 mm (semicircular arched panel)
Sample 721C. Vertical grain. Fairly poor condition. One board. On the reverse, decorative paint on marouflage canvas. Nail for attaching the painted carved head of the figure on the front.
480. Fourth panel
700 × 150 × 14 mm (semicircular arched panel)
Sample 721D. Vertical grain. Insect damage overall. One board. Edges of the panel thinned. On the reverse, decorative paint on marouflage canvas.
481. Fifth panel
700 × 146 × 15 mm (half-arched panel)
Sample 721E. Vertical grain. Some wood borer holes. One board. Partial cloth with decorative paint on the reverse. Keyhole. Panel thinned at the edges.
Catalan School, ca. 1310
482. St Bartholomew, altar frontal, Barcelona, Museu Nacional d’Art de Catalunya (No. 24057)
1020 × 1270 mm (thickness not measurable)
Sample 785. Horizontal grain. Extensive insect damage. Three boards. Cross-bars. Frame attached with nails inserted from the front. Other nail heads corresponding with the attachment of the cross-bars. Warped panel. Painted on marouflage canvas.
Luis Borrassà, ca. 1420
483–485. The Altarpiece of St John the Baptist, three panels, Paris, Musée des Arts Décoratifs (Inv. no. P.E. 301) (for the predella see 486)
483. Right panel
2250 × 555 × 20 mm
Sample 983A. Vertical grain. (Examination incomplete, reverse inaccessible.)
484. Central panel
2860 × 810 × 20 mm
Sample 983C. Vertical grain. (Examination incomplete, reverse inaccessible.)
485. Left panel
2250 × 560 × 20 mm
Sample 983C. Vertical grain. (Examination incomplete, reverse inaccessible.)
Luis Borrassà, ca. 1420
486. The Altarpiece of St John the Baptist, predella, Paris, Musée des Arts Décoratifs (Inv. no. P.E. 123) (for the principal panel see 483, 484, 485)
480 × 2000 × 20 mm approx.
Sample 968. Horizontal grain. Good condition. One board. Overhanging dustguards of 70 mm at the top and 45 mm at the base of the panel. Five cross- grain cross-bars.
Catalan School, 15th century
487. The St Michael Altarpiece: St Michael Weighing Souls, Paris, Musée des Arts Décoratifs (Inv. no. P.E. 126)
1120 × 1560 × 20–34 mm
Sample 967. Horizontal grain. Three boards. At the base of the panel there is a very narrow board. Assembled with butt joints. Roughly cut. Split in the middle of the board at the top. A piece of wood conceals this split. Three cross-grain reinforcing members attached with screws. Two cross-bar fragments on the joins of the boards. A red paint covers the surface.
Joan Gascó, first quarter of the 16th century
488. St Sebastian and St Martial, Bishop, fragment of an altarpiece, Barcelona, Museu Nacional d’Art de Catalunya (No. 65588), from the church of Sant Pere de Vilamajor
1168 × 778 × 20 mm
Sample 836A. Vertical grain. Good condition. Two boards. A layer of filasse and ground applied to the surface. Two cross-bars attached across the grain, joined and reinforced by two diagonal braces. Nails.
Pedro Serafin, 1543
489. St Martin on Horseback, Arénys de Munt, parish church
1780 × 1110 × 17 mm
Samples 698 A–C. Vertical grain. Very good condition. Three boards. Assembled with flush-edge joints. Secondary support consists of six poplar cross-bars (sample 698C). Cross-bars are attached to the secondary support with tenon joints. This ensemble is attached to the support with nails inserted from the front. Filasse over the joins.
Lleida
Catalan School, Lleida, ca. 1200
490. St Peter with Four Angels, side panels of an altarpiece, Barcelona, Museu Nacional d’Art de Catalunya (No. 3907) (the other side panel is in Scots pine, see 890)
805 × 800 × 17–20 mm
Sample 851. Horizontal grain. Good condition. Three boards. Split in the upper board. Assembled with flush-edge joints. Two cross-bars attached across the grain. Painting on marouflage canvas.
Tarragona
The Master Joan of Tarragona, ca. 1370
491–493. The Altarpiece of St John, three panels, Barcelona, Museu Nacional d’Art de Catalunya (No. 4351). The reverses of these panels were inaccessible, making it impossible to examine the support.
491. Right panel
1720 × 530 mm (without frame – thickness not measurable)
Sample 795. Vertical grain. Three boards.
492. Central panel
1700 × 845 mm (without frame – thickness not measurable)
Sample 796. Vertical grain. Two boards. Assembled with dowels.
493. Left panel
1690 × 540 mm (without frame – thickness not measurable)
Sample 797. Vertical grain. Three boards.
The Master Joan of Tarragona, ca. 1370
494. The St John Altarpiece, predella, Barcelona, Museu Nacional d’Art de Catalunya (for the main panels see 491, 492, 493)
310 × 2850 × 25 mm
Samples 798 A, B. Horizontal grain. Overall insect damage. One board. Scots pine frame extensively damaged by insects (sample 798B), attached to the support with large nails inserted through from the front. (Reverse inaccessible.)
French School
Avignon
Nicolas Froment, ca. 1475
495. The Diptych of Matheron, with portraits of King René and Jeanne de Laval, Paris, Musée du Louvre (No. 304A, p. 105. Inv. no. R.F. 665)
175 × 135 × 12 mm (each panel with frame)
Sample 249. Vertical grain. Good condition. Paint covers the surface on the reverse. Panel held in the rebate of the original frame.
Nicolas Froment, ca. 1475
496–498. The Triptych of Buisson Ardent, Aix-en-Provence, Saint-Sauveur cathedral
496. Central panel
3050 × 2250 mm (thickness not measured)
Samples 397 A, B. Vertical grain. Apparent good condition. Painted on marouflaged cloth. (Study of the support incomplete – inaccessible owing to its location in the museum.)
497. Inner right wing
Sample 398A (front); B (reverse). Vertical grain (?). Good condition. Panel painted on both sides. On the reverse: The Annunciation.
498. Inner left wing
Sample 399 A (face); B (reverse). Vertical grain (?). Apparently good condition. Panel painted on both sides. On the reverse: The Angel of the Annunciation.
Attributed to Nicolas Froment, ca. 1470–1480
499. The Legend of St Mitre, Aix-en-Provence, Saint-Sauveur cathedral
1640 × 1490 × 20–30 mm
Samples 401 A–C. Horizontal grain. Insect damage. Splits (examination incomplete as the panel was embedded in the wall). The three samples come from the reverse (sample 401B), the frame (sample 401C) and the visible part of the support on the left side (sample 401A). These indicate, respectively, fir (B), probably poplar (C) and definitely poplar (A). It is assumed that the visible fir belongs to either a cross-bar or an auxiliary panel panel but that the support itself is in poplar.
Loire
Attributed to Jean Fouquet, 15th century
500. The Head of a Monk, fragments, Tours, Musée des Beaux-Arts (Inv. no. D. 52.5), Comte de Demandolx-Dedons Collection at Marseille
364 × 295 × 10 mm (sides); 20 mm (centre)
Sample 1535. Horizontal grain. Good condition. Split at mid-width.
Provence
Provence School, ca. 1340
501. Portrait of St Louis, Bishop of Toulouse, Aix-en-Provence, Musée des Beaux-Arts (Inv. No. 2), from the church of the Clarisses
570 × 328 × 14 mm (edges); 22 mm (centre)
Sample 393. Vertical grain. Very good condition. Panel warped. Either two boards or one split board (?). Two iron cross-bars, held by four screws. Thinning of the panel at the sides.
The Master of the Annunciation of Aix, ca. 1443
502. The Annunciation, centre of the Annunciation Altarpiece, Aix-en-Provence, church des Prêcheurs
1500 × 1770 × 40–50 mm
Samples 404 A–D. Horizontal grain. Extensive and overall insect damage. Large cross-bars across the grain. Work painted on marouflage canvas. The side edges of the panel bear saw marks.
Provence School, ca. 1457
503. The Pietà of Tarascon, Paris, Musée du Cluny (Inv. no. C.L. 18509)
1310 × 850 × 34 mm (thickness uneven)
Sample 359. Horizontal grain. Insect damage, in particular at the top. Some insect channels. Either two boards or one split along the whole width (?). Roughly cut. Strips of cloth on three-quarters of the join or split. Panel not reinforced. Bare wood.
Simon de Chalons, signed (Symon), dated 1543
504. The Infant Jesus Playing with other Children, Avignon, Musée Calvet (No. 15)
2050 × 1800 × 21 mm
Sample 678. Horizontal grain. Insect damage. Seven boards poorly joined. Three cross-bars.
Eastern Provence
Attributed to Jacques Durandi, 15th century
505–506. The Great Altarpiece of St John the Baptist, central panel and predella, Nice, Musée Masséna
505. Central panel
1800 × 1900 × 25 mm
Sample 471A. Vertical grain. Some insect holes. Four boards. Three original cross-bars attached through the front of the painting. Assembled with flush-edge joints. Traces of ground and paint on the reverse.
506. Predella
300 × 1900 × 20 mm
Sample 471B. Horizontal grain. Fairly good condition. One board. Bare wood. Panel not reinforced.
Attributed to Louis Brea, beginning of the 16th century
507. Altarpiece. Central part: St John the Baptist; left part: A Sainted Bishop; right part: St Petronille. Upper register: The Passion of Christ; The Annunciation to the Virgin; The Angel Gabriel. One panel, Coursegoules, Alpes-Maritimes, St John the Baptist chapel (in store in Nice, Musée Masséna)
1700 × 1400 × 20–30 mm
Sample 472. Vertical grain. Three boards disjointed. Three recent cross-bars.
Louis Brea (?), 16th century
508–510. Triptych, three panels, Ajaccio, Musée Fesch
508. Central panel: St Anne (Inv. no. M.F.A. 852 I. 377)
980 × 380 × 18 mm (average thickness)
Sample 1125. Vertical grain. Some insect damage. One board. Three recent cross-grain cross-bars. A gloss paint covers the surface.
509. Right wing: St Ursula (Inv. no. M.F.A. 852 I. 956)
980 × 380 × 22 mm (average thickness)
Sample 1127. Vertical grain. Some insect damage. One board. Roughly cut. Panel not reinforced. Bare wood.
510. Left wing: St Catherine (Inv. no. M.F.A. 852.I 953)
980 × 380 × 22 mm (average thickness)
Sample 1126. Vertical grain. Some insect damage. One board. Roughly cut. Panel not reinforced. Bare wood.
Rhône
The Master of St Sebastian, ca. 1490–1495
511. St Michael Slaying the Dragon, Avignon, Musée Calvet (No. 10)
600 × 800 × 30 mm approx..
Sample 654. Vertical grain. Good condition. Image painted on both sides. On the reverse: The Annunciation.
Italian School
Italian School, 13th century
512. St Francis of Assisi, Paris, Musée du Louvre (Inv. no. R.F. 975)
957 × 390 (with frame) × 25 mm (with frame)
Visual examination. Vertical grain. Good condition in appearance. Frame carved into the mass of the wood (?). Three cross-bars. Painted on marouflaged cloth. (Examination incomplete due to the location of the panel in the museum.)
Italian School, 15th century (museum attribution: Marches School, 15th century)
513. The Virgin and Child Adored by Angels, Paris, Musée du Louvre (No. 1269D; formerly No. 1676A, p. 155. Inv. no. R.F. 1272)
594 × 436 × 25 mm
Visual examination. Vertical grain. Insect damage. Magnificent example of rough cutting using an axe or adze.
Juste de Gande and Pedro Berruguette, beginning of 1464 and 1476
514–527. Fourteen Portraits of Illustrious Men, Paris, Musée du Louvre (Nos. 1627–1639, pp. 71–72), from the decoration of the ‘studiolo’ of Frederic of Montefeltre, in the ducal palace of Urbino
514. Pope Sixtus IV (No. 1626, p. 70. Inv. no. M.I. 644)
1160 × 564 × 25–34 mm
Sample 1151. Vertical grain. Good condition. One board (?).
515. The Cardinal Bessarion (No. 1627, p. 71. Inv. no. M.I. 646)
1160 × 561 × 35 mm
Sample 1152. Vertical grain. Apparent good condition. Two boards. 18 mm strip on the edge of one of the sides.
516. Vittorio da Feltre (No. 1628, p. 71. Inv. no. M.I. 645)
943 × 632 × 30–32 mm
Sample 1152B. Vertical grain. Apparent good condition. Three boards. Assembled with spline joints.
517. Pietro Apponion (No. 1629, p. 71. Inv. no. M.I. 647)
960 × 630 × 33 mm
Sample 1152C. Vertical grain. Apparent good condition. Two boards. 34 mm strip on the right edge of the panel.
518. Dante (No. 1630, p. 71. Inv. no. M.I. 648)
1115 × 645 × 40–45 mm
Samples 1150 A, B. Vertical grain. Apparent good condition. Two boards. Assembled with spline joints in spruce.
519. St Jerome (No. 1631, p. 71. Inv. no. M.I. 649)
1167 × 686 × 33 mm
Sample 1146. Vertical grain. Good condition. One board.
520. St Augustus (No. 1632, p. 71. Inv. no. M.I. 650)
1185 × 626 × 40–50 mm
Sample 1149. Vertical grain. Apparent good condition. Two boards. Assembled with spline joints.
521. St Thomas Aquinas (No. 1633, p. 71. Inv. no. M.I. 651)
1146 × 763 × 40–50 mm
Sample 1148. Vertical grain. Good condition. Three boards. Assembled with spline joints.
522. Virgil (No. 1634, p. 71. Inv. no. M.I. 652)
930 × 751 × 48 mm
Sample 1154. Vertical grain. Good condition. One board.
523. Solon (No. 1635, p. 71. Inv. no. M.I. 653)
950 × 485 × 20–30 mm
Sample 1173. Vertical grain. Good condition. Two boards. Assembled with spline joints. 42 mm batten on the left edge of the panel.
524. Seneca (No. 1636, p. 72. Inv. no. M.I. 654)
990 × 777 × 30 mm
Sample 1144. Vertical grain. Good condition. One board.
525. Plato (No. 1637, p. 72. Inv. no. M.I. 655)
1014 × 690 × 35 mm
Sample 1144. Vertical grain. Good condition. One board.
526. Aristotle (No. 1638, p. 72. Inv. no. M.I. 656)
1060 × 680 × 35 mm
Sample 1145. Vertical grain. Apparent good condition. One board.
527. Ptolemy (No. 1639, p. 72. Inv. no. M.I. 657)
980 × 663 × 40 mm
Sample 1153. Vertical grain. Apparent good condition. One board.
Bartolomeo Schedoni, 16th century
528. Christ Carried to the Tomb, Paris, Musée du Louvre (No. 1521, p. 119. Inv. no. 662; R.F. 477)
352 × 275 × 5 mm
Visual examination. Vertical grain. Reduced softwood cradle.
Zacchua il Vecchio, 16th century
529. Portrait of a Musician, Paris, Musée du Louvre (No. 1608, p. 142. Inv. no. M.I. 610)
900 × 625 × 15 mm
Visual examination. Vertical grain. Insect holes across the panel; the cross-bars are insect damaged. Four boards plus 62 mm wide wooden strip on the right side. Two head-to-tail tapered cross-bars attached with dovetail joints. Wooden strips on the top and bottom edges of the panel. The letters C.L., surmounted by a crown, are painted in black above the cross-bar at the base. A thick ground layer covers the surface.
Bologna
Jacopino di Francesco, second half of the 14th century
530. The Crucifixion, Moulins, Museum (No. 1), in store (Musées Nationaux, Campana Collection, No. 145)
475 × 364 × 33 mm
Sample 992. Vertical grain. Some insect holes. A black paint covers the surface.
Michele di Matteo Lambertini, first half of the 15th century (museum attribution: Giovanni da Santo Stefano dal Ponte)
531. Heraclius Entering Jerusalem, Paris, Musée du Louvre (No. 1371A, p. 99. Inv. no. 65; M.R. 41; R.F. 30)
360 × 515 × 30 mm
Visual examination. Horizontal grain. Much insect damage; some insect channels. A thick ground and paint layer covers the surface. Pieces of wood applied to damaged areas.
Bagnacavallo, 16th century (museum attribution: Mariotto Albertinelli)
532. The Virgin and Child with St Agnes, Paris, Musée du Louvre (Inv. no. P.E. 108)
620 × 500 × 6 mm
Sample 981. Vertical grain. Insect damage; open insect channels. Panel cradled. Stained wood.
Jacopo Boateri, beginning of the 16th century
533. The Virgin and the Infant Jesus, Paris, Musée du Louvre (No. 1437, p. 35. Inv. no. M.I. 565)
717 × 550 × 28 mm
Sample 114. Vertical grain. Insect holes. One board. Splits. Two cross-bars attached with dovetail joints, thinned on the right, very roughly cut with a paring-axe or an adze. Bare wood.
Bartolommeo Bononi, signed, dated 1507
534. The Glorious Virgin, Infant Jesus, St Francis of Assisi and a Bishop, Paris, Musée du Louvre (No. 1174, p. 37. Inv. no. M.I.569)
1700 × 1157 × 28 mm
Sample 924. Vertical grain. Insect damage, in particular on the edges of the board; open insect channels. Three boards. Assembled reinforcing members and double dovetail key joints. Two cross-grain cross-bars screwed to the panel.
Emilia
Emilia School, second half of the 14th century
535. Triptych, left wing: St John the Baptist, Venice, Galleria dell’Academia (No. 2. Inv. no. 576) (for the centre and right wing see 1049 and 1050)
535 × 115 × 20 mm
Samples 623C; 988. Vertical grain. Very good condition. One board. A red layer of paint covers the surface.
Francesco Marmitta, 15th century, previously attributed to Francesco of Bianchi Ferrari, second half of the 15th century
536. The Virgin, the Infant Jesus, St Benoit and St Quentin, Paris, Musée du Louvre (No. 1167, p. 35. Inv. no. 116; M.R. 63)
2135 × 1390 × 12 mm (thinned edges)
Sample 74. Vertical grain. Good condition in appearance. Three boards. Panel thinned on the four sides. Five attached cross-bars. Paint covers the surface.
Central Italy
Raphael (Raffaello Sanzio), end of the 15th century
537. St Michael, Paris, Musée du Louvre (No. 1502, p. 114. Inv. no. 608; M.R. 439) (paired with 538)
310 × 265 × 12 mm
Sample 65 A. Horizontal grain. Good condition. One board. Panel not reinforced. Brown paint covers the surface.
Raphael (Raffaello Sanzio), end of the 15th century
538. St George, Paris, Musée du Louvre (No. 1503, p. 114. Inv. no. 609; M.R. 440) (paired with 537)
305 × 268 × 14 mm
Sample 65B. Horizontal grain. Good condition. One board. Panel not reinforced. A brown paint covers the surface.
Raphael (Raffaello Sanzio), beginning of the 16th century (museum attribution: Raphael?)
539. Portrait of Guidobaldo da Montefeltro, Duke of Urbino, Florence, Galleria degli Uffizi (Inv. No. 8538)
690 × 520 mm
Sample 952. Study of the construction of the panel was not made.
Raphael (Raffaello Sanzio), 1507
540. Summer Garden, Paris, Musée du Louvre (No. 1496, p. 112. Inv. no. 602)
1210 × 780–790 mm (thickness not measurable)
Visual examination. Vertical grain. Insect holes. Two attached cross-bars. Panel warped. A brown paint layer covers the surface.
Raphael (Raffaello Sanzio), executed by Giulio Romano, 16th century
541. Small Holy Family, Paris, Musée du Louvre (No. 1499, p. 133. Inv. no. 605; M.R. 436)
387 × 295 × 11 mm
Sample 668. Vertical grain. Good condition. One board. Panel not reinforced. Faux marble black paint covers the surface. Inscription.
Raphael (Raffaello Sanzio), painted largely by Giulio Romano, 16th century
542. The Virgin with Diadem, Paris, Musée du Louvre (No. 1497, p. 113. Inv. no. 603; M.R. 438)
680 × 485 × 10 mm (whole thickness: 20 mm)
Samples 95 A, B. Vertical grain. Some insect holes. One board. Panel has an auxiliary support in the direction of the grain in 10 mm thick poplar. Shouldering on the outer side edges and at the top of the panel.
School of Raphael, 16th century (museum attribution: Raphael)
543. St Catherine of Alexandria, Paris, Musée du Louvre (No. 1511, p. 117. Inv. no. M.I. 604)
1660 × 1000 × 30 mm
Sample 106. Vertical grain. Insect holes and open channels on the side edges of the panel. Four boards plus one narrower board on the right side. The surface of the wood is smooth. Three cross-grain cross-bars are attached with dovetail joints. Painted on both sides.
Giulio Romano (Pippi), first quarter of the 16th century
544. Venus and Vulcan, Paris, Musée du Louvre (No. 1421, p. 97. Inv. no. 424; M.R. 302)
380 × 260 × 25 mm
Visual examination. Vertical grain. Some insect holes. One board. Cut with an adze. Bare wood. Panel not reinforced.
Giulio Romano (Pippi), 1531
545. The Nativity with St John and St Longinus, Paris, Musée du Louvre (No. 1418, p. 96. Inv. no. 421; M.R. 300)
2750 × 2120 × 25 mm
Sample 5. Vertical grain. Numerous insect holes. Six boards. Boards of 75 mm and 80 mm on the side edges of the support. Roughly cut boards, in particular on the right of the support. Five oak cross-bars; four inset with dovetail joints, one surface mounted. Bare wood.
Giulio Romano, 16th century
546. Portrait of a Man, Paris, Musée du Louvre (No. 1422, p. 97. Inv. no. 425; M.R. 299)
590 × 438 × 20 mm
Sample 96. Vertical grain. Good condition. Three unequal boards, measuring respectively 88, 235 and 115 mm in width. One cross-grain cross-bar at the base of the panel is attached with dovetail joints. A second cross-bar is placed at the top. A brown paint layer covers the surface.
North Italy
Correge (Antonio Allegri), beginning of the 16th century
547. The Mystical Marriage of St Catherine of Alexandria, Paris, Musée du Louvre (No. 1117, p. 23. Inv. no. 41)
1050 × 1020 × 2 mm
Sample 100. Vertical grain. Three boards. Two loosely attached cross-bars. A brown paint covers the surface.
Ferrara
Lorenzo Costa, end of the 15th century
548. The Nativity, Lyon, Musée des Beaux-Arts (No. 24. Inv. no. B. 495)
650 × 855 × 25 mm
Sample 501. Horizontal grain. Insect damage. A thick white ground layer covers the surface. Cross-bar.
Ercole de’ Roberti , end of the 15th century
549. Bust of St Jerome, Lyon, Musée des Beaux-Arts (No. 64. Inv. no. X. 786 A)
655 × 485 × 11 mm
Sample 496. Vertical grain. Good condition. A red and white ground layer covers the surface.
Cosimo Tura, 15th century
550. St Anthony of Padua, Paris, Musée du Louvre (No. 1557, p. 128. Inv. no. M.I. 486)
735 × 395 × 10 mm (total thickness 14 mm – arched panel)
Samples 996 A, B. Vertical grain. Insect damage. One board (?). Cross-grain auxiliary support panel of 4 mm thick spruce.
Dosso Dossi (Giovanni de Lutero), beginning of the 16th century
551. Rest during the Flight into Egypt, Florence, Galleria degli Uffizi (Inv. no. 8382)
520 × 420 × 10 mm
Sampe 954. Vertical grain. Good condition.
Garofalo (Benvenuto Tisi), first half of the 16th century
552. The Circumcision, Paris, Musée du Louvre (No. 1550, p.127. Inv. no. 692; M.R. 191)
347 (without added wooden strips) × 500 × 17 mm
Sample 238. Horizontal grain. Very good condition. Wooden strips of 10 mm and 20 mm on the top and bottom edges of the panel. Two tapered cross-grain uprights at the bottom of the panel. A brown paint covers the surface.
Garofalo (Benvenuto Tisi), first half of the 16th century
553. The Holy Family, Paris, Musée du Louvre (No. 1552, p. 127. Inv. no. 694; M.R. 229)
352 × 250 × 14 mm
Samples 665 A–E. Horizontal grain of the arched section located above the upper cross-bar; vertical grain for the remainder of the panel. Good condition. Two cross-bars set in along the width of the support. A ground layer and paint layers cover the surface. Brand mark: C.R. The support is fitted into a rectangular oak frame (sample 665E), which extends over the four edges.
Garofalo (Benvenuto Tisi), 16th century
554. The Nativity, Paris, Musée du Louvre (no number, p. 127. Inv. no. R.F. 2327)
425 × 340 × 9 mm
Visual examination. Vertical grain. Good condition. Insect holes, in particular on the lateral sides and edge of the left side. One board (?). Panel cradled (this prevented examination of the reverse).
Garofalo (Benvenuto Tisi), 16th century
555. The Annunciation, Florence, Galleria degli Uffizi (Inv. no. 1365)
550 × 760 mm
Sample 951. Study of the construction of the panel was not carried out.
Girolamo Marchesi, signed, dated 1520
556. Christ Carrying the Cross, Paris, Musée du Louvre (No. 1381, p. 84. Inv. no. M.I. 608)
500 × 502 × 15 mm
Sample 239. Vertical grain. Insect damage. Two unequal boards. Two inset cross-grain cross-bars. Wooden strips on the four edges of the panel. Knots in the centre. A ground and paint layer cover the surface.
Lodovico Mazzolino, end of the 15th/beginning of the 16th century
557. The Nativity, Florence, Galleria degli Uffizi (Inv. no. 1352)
790 × 600 mm
Sample 948. Study of the construction of the panel was not made.
Lodovico Mazzolino, end of the 15th/beginning of the 16th century
558. The Holy Family, Paris, Musée du Louvre (No. 1387, p. 86. Inv. no. 390)
350 × 280 × 4 mm
Sample 233. Vertical grain. Good condition. One board. A wooden strip on the edge of the base of the support. Panel cradled. A thick paint layer covers the surface.
L’Ortolano (Giovanni Battista Benvenuto), beginning of the 16th century, previously attributed to the Ferrara School, end of 15th century
559. The Nativity, Paris, Musée du Louvre (No. 1401, p. 155. Inv. no. M.I. 603)
585 × 485 × 21 mm
Sample 236. Vertical grain. Some insect holes. One board. Two inset cross-grain cross-bars. A circular mark incised in the wood. Bare surface.
Scarsellion (Ippolito Scarsella), end of the 16th century (museum attribution: Italian School of the 16th century)
560. The Mystical Marriage of St Catherine, Paris, Musée du Louvre (Inv. no. R.F. 3824)
540 × 695 × 19 mm
Samples 305; 305B; 1493. Vertical grain. Some insect holes. Two cross-bars, 130 × 40 mm, made from fruit wood (sample 305B) at the midpoint of each side. Attached with forged head nails.
Ferrara-Bologna
Francesco Francia, 15th century
561. Christ on the Cross, Paris, Musée du Louvre (No. 1436, p. 102. Inv. no. M.I. 679)
2500 × 1710 × 40–50 mm
Sample 1536. Vertical grain. Overall insect damage. Three boards. Assembled with glued flush-edge joints. Three cross-bars bolted across the grain of the panel. Forged nail heads inserted through the thickness of the panel edges. The painting has since been transferred.
School of Francesco Francia, 15th century (museum attribution: Francesco Francia)
562. The Madonna and Child, with St George, St Sebastian, St Francis, and St John the Baptist, known as the Guastavillani Madonna, Paris, Musée du Louvre (No. 1436A, p. 103. Inv. no. R.F. 1286)
2170 × 1675 × 21 mm approx.
Sample 925. Vertical grain. A little insect damage. Four boards. 24 mm wide wooden strips screwed to the edges of the four sides of the panel. Wide cradle, composed of five cross-bars of semicircular cross-section and uprights of rectangular cross-section. Fillings in the settings of three previous cross-grain cross-bars.
Attributed to Francesco Francia, dated 1508
563. The Virgin and Child, Paris, Musée du Louvre (Inv. no. R.F. 2101), Schlichting Collection
465 × 346 × 18 mm
Sample 666. Vertical grain. Insect damage. Open insect channels. Evidence of two cross-grain cross-bars. Wooden strips on the edges of the four sides. Three marks. Inscription. Bare wood.
Florence
Cimabue, 13th century
564. The Virgin and Child with Angels, Paris, Musée du Louvre (No. 1260, p. 51. Inv. no. 254)
4240 × 2760 mm (thickness not measurable)
Samples 293; 424. Vertical grain. Large cross-bars across the grain. Frame in spruce.
The Master of St Cecilia, 13th century
565. St Cecilia and Scenes from her Life, Florence, Galleria degli Uffizi (Inv. no. 449)
850 × 1810 mm
Sample 945. Study of the construction of the panel was not made.
Meliore di Jacopo, signed, dated 1271
566. The Redeemer, with the Madonna and Three Saints, Florence, Galleria degli Uffizi (Inv. no. 9153), from the Pinacoteca di Parmade that had previously received it from a church in the city.
620 × 2090 mm
Sample 942. Study of the construction of the panel was not made.
Bernardo Daddi, 14th century
567. The Annunciation with Two Angels, Paris, Musée du Louvre (No. 1301, p. 54 Inv. no. M.I. 393)
437 × 710 × 20 mm
Sample 17. Horizontal grain. Traces of paint and a ground layer on the reverse. Panel warped. Support not reinforced.
Attributable to Agnolo Gaddi, 14th century
568–570. Predella, three panels, Paris, Musée du Louvre (No. 1302, p. 60. Inv. no. 290; M.R. 224)
568. Central panel: The Crucifixion
343 × 677 × 28–35 mm
Sample 21A. Horizontal grain. Insect damage. One board. Edges of the panel are bevelled. Bare wood. Support not reinforced.
569. Left panel: Herod’s Banquet and the Beheading of St John the Baptist
343 × 673 × 28–35 mm
Sample 20B. This panel is similar to 568. Shouldering of 40 mm on the edge of the left side.
570. Right panel: Miracle and Beheading of St James the Great
345 × 676 × 28–35 mm
Sample 19C. This panel is similar to 569. Shouldering of 40 mm on the edge of the right side.
Giotto, ca. 1310
571. The Virgin on a Throne, Florence, Galleria degli Uffizi (Inv. no. 8344)
3250 × 2040 mm
Sample 934. Study of the construction of the panel was not made.
School of Giotto, 14th century
572. St Francis of Assisi Receiving the Stigmata, predella: Three Episodes from his Life, Paris, Musée du Louvre (No. 1312, p. 63. Inv. no. 309)
3200 × 1485 mm (without frame – thickness not measurable)
Sample 31. Vertical grain. The frame is 70 mm wide, attached to the panel with nails from the front. Upper cross-bars attached in a similar way.
Jacopo di Cione, 14th century
573. The Coronation of the Virgin with Adoring Saints, Florence, Galleria dell'Accademia (Inv. no. 456)
3510 × 1940 × 33 mm
Sample 1491. Vertical grain. Good condition; a few insect holes. Four boards. Assembled with simple tip and dovetail joints, visible from the front only. Five cross-bars set in, across the grain, attached by nails. Wooden strips on the side edges. Work painted on marouflage canvas.
Niccolo Di Tommaso, middle of the 14th century
574–575. Wings of a triptych, Besançon, Musée des Beaux-Arts (Inv. nos. 897. I. 149; 897. I. 150)
574. Left wing: saints – male and female
480 × 150 × 15 mm
Sample 591B. Vertical grain. Very good condition. Recent addition of a trefoil arch of 130 mm in the upper part of two panels. A brown preparation covers the surface.
575. Right wing: The Crucifixion
480 × 150 × 15 mm
Sample 591C. This panel is similar to 574.
Fra Angelico da Fiesole, 15th century
576. The Martyrdom of St Cosmas and St Damian, Paris, Musée du Louvre (No. 1293, p. 68. Inv. no. R.F. 340)
375 × 463 × 38 mm
Sample 45. Horizontal grain. One board (?). Fixing nails inserted through from the front of the panel. Two cross-bars are set across the grain with dovetail joints. These stave-cut cross-bars have been placed head-to-foot. Edges of the support slightly thinned at the top and at the bottom. A forged nail cut level to the reverse. Stamp. Bare wood. Inscription on glued paper.
Fra Angelico da Fiesole, 15th century
577. Angel in Adoration, Paris, Musée du Louvre (No. 1294B, p. 69. Inv. no. R.F. 1731)
370 × 230 × 20 mm
Sample 61. Vertical grain. Extensive insect damage. One board. Two old 18 mm thick wooden strips on the side edges. A forged nail is seen on the edge of the right side. Two 4 mm thick wooden strips on the top and bottom of the panel. The upper part has extra support with a 20 mm thick carved decorative panel.
Fra Angelico da Fiesole, first quarter of the 15th century
578. The Coronation of the Virgin, predella: Seven Scenes of the Story of St Dominic, Paris, Musée du Louvre (No. 1290, p. 68. Inv. no. 314)
2900 × 2120 mm
Sample 30. Vertical grain. Seven boards (?) Painted on marouflaged cloth. (Examination incomplete due to its location in the museum.)
Attributable to Fra Angelico da Fiesole, 15th century
579. The Beheading of St John the Baptist, Paris, Musée du Louvre (No. 1291, p. 70. Inv. no. R.F. 196)
193 × 380 × 3 mm (whole thickness)
Sample 51. Horizontal grain. Some insect holes. Edges of the panel are bevelled. Bare wood. Support not reinforced.
School of Fra Angelico (?), 15th century
580. The Resurrection of Christ, Paris, Musée du Louvre (No. 1294 A, p. 69. Inv. no. R.F. 1263)
261 × 100 × 14 mm
Visual examination. Vertical grain. Insect damage. One board. 4 mm thick wooden strips on the edges of the four sides of the panel. Wood stained . Support not reinforced.
Alesso Baldovinetti, middle of the 15th century
581. The Virgin and Child in a Landscape, Paris, Musée du Louvre (No. 1134B, p. 27. Inv. no. R.F. 1112), from the collection of the Duke of Trémoïlle
1040 × 735 × 28–30 mm
Sample 38. Vertical grain. Extensive insect damage. A thick ground layer and glue covers the surface. Roughly cut. Two cross-bars.
Biagio d’Antonio, 15th century, previously attributed to the School of Verrocchio
582. The Virgin Adored by Angels and Little St John, Paris, Musée du Louvre (No. 1657B, p. 70. Inv. no. M.I. 518), Campana Collection
475 × 338 × 20 mm
Sample 138. Vertical grain. Some insect holes. A thick paint layer covers the surface.
Botticelli, 15th century, previously attributed to the School of Botticelli
583. Portrait of a Young Man, Paris, Musée du Louvre (No. 1663, p. 58. Inv. no. R.F. 323)
752 × 420 × 8 mm
Sample 345. Horizontal grain. Insect holes. One board. Bare wood. Panel not reinforced.
Botticelli, 15th century
584. The Virgin, the Infant Jesus and St John the Baptist, Paris, Musée du Louvre (No. 1296, p. 57. Inv. no. 286; M.R. 3936)
930 × 690 mm (thickness not measurable)
Visual examination. Vertical grain. A few insect holes. One board. Panel held in the rebate of the frame. Bare wood.
Botticelli, second half of the 15th century
585. The Virgin and Child (also known as The Madonna of the Guidi of Faenza), Paris, Musée du Louvre (No. 1298A, p. 58. Inv. no. R.F. 2099), Schlichting Collection
755 × 490 × 10 mm
Sample 64. Vertical grain. Some insect holes. Two cross-bars. Bare wood. Panel not reinforced.
School of Botticelli, 15th century, occasionally attributed to Jacopo de Sellaio (copy after the original by Botticelli, since lost)
586. The Virgin and Child with Pomegranate, Paris, Musée du Louvre (No. 1300A, p. 59. Inv. no. R.F. 1265)
795 × 545 × 20 mm
Sample 308. Vertical grain. A thick red ground layer covers the surface. Panel not reinforced.
School of Botticelli, 15th century
587. Predella: ‘Noli me Tangere’, Visitation and Saints, Paris, Musée du Louvre (No. 1300, p. 59. Inv. no. M.I. 544)
247 × 916 × 18 mm
Sample 135. Horizontal grain. Good condition; some insect holes. Two unequal boards, measuring 95 mm and 153 mm in height. Bare wood. Panel not reinforced. Wood surface very smooth.
School of Botticelli, second half of the 15th century (museum attribution: Botticelli)
588. The Madonna with the Child and Five Angels, Paris, Musée du Louvre (No. 1345, p. 148. Inv. no. M.I. 478)
640 × 430 × 8 mm approx.
Samples 62; 46. Vertical grain. Insect damage: open insect channels. One board (?). Roughly cut. Frame reinforcement has one central cross-bar.
School of Botticelli, end of the 15th century (museum attribution: the Master of the Altarpiece of San Miniato)
589. The Virgin and Child, Paris, Musée du Louvre (No. 1657, p. 148. Inv. no. M.I. 499)
788 × 480 × 18 mm (arched panel)
Sample 303. Vertical grain. Extensive insect damage. Numerous open insect channels. A thick ground layer covers the surface.
Francesco Botticini, second half of the 15th century.
590. The Madonna and Child in Glory with St Mary Magdalene, St Bernard, Angels, Cherubim and Seraphim, Paris, Musée du Louvre (No. 1482, p. 39. Inv. no. 590)
1900 × 1777 × 30 mm
Sample 1338. Vertical grain. Numerous insect holes. Six boards. Double dovetail keys reinforce the joins. Two cross-bars. Bare wood.
Florentine School, 15th century
591. Portrait of a Young Man, Besançon, Musée des Beaux-Arts (Inv. no. 896 I 157)
463 × 310 × 18 mm
Sample 588. Vertical grain. Numerous insect holes, in particular on the side edges and on the corners of the panel. One board. Cut in a regular and fine way. Slight warping of the panel.
Florentine School, 15th century
592. Battle, panel of a cassone, Lyon, Musée des Beaux-Arts (No. B. 1450)
460 × 1375 × 40 mm
Sample 482. Horizontal grain. Good condition. Bare wood.
Domenico Ghirlandaio, second half of the 15th century
593. Portrait of a Young Florentine with a Red Hat, Paris, Musée du Louvre (No. 1322A, p. 66. Inv. no. R.F. 2102)
570 × 370 × 10 mm
Samples 301 A, B. Vertical grain. Insect damage. Reduced cradle in Scots pine (sample 301B). A ground layer covers the surface.
Domenico Ghirlandaio, second half of the 15th century
594. Portrait of an Old Man and his Grandson, Paris, Musée du Louvre (No. 1322, p. 66. Inv. no. R.F. 266)
630 × 465 × 8 mm
Sample 50. Vertical grain. Numerous open insect channels. Panel cradled.
Giovanni di Francesco, 15th century
595. St James, Lyon, Musée des Beaux-Arts (No. B. 936)
1290 × 525 × 40 mm
Sample 499. Vertical grain. Insect damage. Three boards. Splits. Very roughly cut. One seal. Initials M.F. from a recent era.
Benozzo Gozzoli, 15th century
596. The Triumph of St Thomas Aquinas, Paris, Musée du Louvre (No. 1319, p. 65. Inv. no. 104; M.R. 255)
2290 × 1040 × 26 mm (arched panel)
Sample 48. Vertical grain. Good condition. Three boards. Roughly cut. Five cross-grain cross-bars. A ground and paint layer cover the surface.
Attributed to Benozzo Gozzoli, 15th century
597. Antiochus and Stratonice, panel of a cassone, Paris, Musée du Cluny (No. 1683. Inv. no. C.L. 1744) (paired with 598)
450 × 1740 × 18 mm
Sample 362. Horizontal grain. Good condition; some open insect channels. One board. Large knots in the middle of the panel. Bare wood. Support not reinforced.
Attributed to Benozzo Gozzoli, 15th century
598. Story of the Snakes, panel of a cassone, Paris, Musée du Cluny (No. 1684. Inv. no. C.L. 1745) (paired with 597)
450 × 1730 × 18 mm
Sample 361. Horizontal grain. Good condition; some open insect channels. Two unequal boards, measuring respectively 110 and 344 mm in height. Bare wood. Panel not reinforced. Knots.
After Guido di Pietro, 15th century
599. Group of Six Saints, Paris, Musée du Louvre (No. 1294D. Inv. no. R.F. 310)
120 × 210 × 20 mm
Visual examination. Horizontal grain. Insect damage. Panel not reinforced. Bare wood. Mark.
Leonardo da Vinci, second half of the 15th century
600. The Annunciation, Paris, Musée du Louvre (No. 1265, p. 137. Inv. no. M.I. 598)
140 × 590 mm (thickness not measurable)
Sample 1537. Horizontal grain. Numerous insect holes and open channels. One board. Saw marks easily visible on the edge of the base of the panel.
Leonardo da Vinci, 16th century
601. Mona Lisa (La Giaconda) Paris, Musée du Louvre (No. 1601, p. 139. Inv. no.779; M.R. 316)
800 × 534 × 15 mm
Sample 1538. Vertical grain. Good condition; some insect holes. One board. Panel not reinforced. Bare wood.
Leonardo da Vinci (unfinished), 16th century
602. The Virgin and Child with St Anne, Paris, Musée du Louvre (No. 1598, p. 138. Inv. no. 776; M.R. 319)
1675 × 1297 × 25 mm
Samples 90 A–C. Vertical grain. Overall insect damage. Four boards. Cut with a saw. Assemblage reinforced by strips of cloth over the joins. Two cross-bars in fir (sample 90B), cut with a chisel and mallet, are attached with dovetail joints across the grain of the support.
Filippino Lippi, 15th century
603. Scenes from the Life of the Virgin, cassone, Paris, Musée du Louvre (No. 1662A, p. 73. Inv. no. M.I. 501)
410 × 1250 × 35 mm
Sample 108 A. Horizontal grain. Some insect holes. One board. Roughly cut. Panel warped. Knots. Bare wood. Support not reinforced.
Fra Filippo Lippi, 1437
604. The Virgin and Child between Two Saints, Paris, Musée du Louvre (No. 1344, p. 73. Inv. no. 339)
2140 × 2430 × 30 mm
Sample 73. Vertical grain. Apparent good condition. Four boards. Nail heads visible on the front, arranged in a transverse line. Cradle. A paint layer covers the surface.
School of Fra Filippo Lippi, 15th century
605. The Nativity, Paris, Musée du Louvre (No. 1343, p. 95. Inv. no. 338; M.R. 338)
1680 × 1660 × 35 mm
Sample 76. Vertical grain. Numerous insect holes. Five boards. The central boards are roughly cut; the lateral boards are sawn. Wooden strip on the edge of the right side of the panel. Two cross-grain cross-bars.
Attributed to Lorenzo di Credi, 15th century, previously attributed to Raffaellino del Garbo
606. Portrait of a Man, Lyon, Musée des Beaux-Arts (Inv. no. B. 389)
420 × 310 × 7 mm
Sample 481. Vertical grain. Insect damage. Cradled panel.
Lorenzo Monaco, end of the 14th /beginning of the 15th century
607. The Virgin of Humility, Paris, Musée du Louvre (No. 1315, p. 76. Inv. no. M.I. 381)
1170 × 626 × 60 mm
Sample 32. Vertical grain. Extensive insect damage. Four boards. Panel not reinforced. Bare wood.
Lorenzo Monaco, 1408
608. Jesus on the Mount of Olives and Female Saints at the Tomb, wings of a triptych, one panel, Paris, Musée du Louvre (No. 1348A, p. 76. Inv. no. M.R. 965)
660 × 264 × 10 mm approx.
Sample 16. Vertical grain. Extensive insect damage; numerous open insect channels. Two boards. Wooden strips on the edges of the four sides. Panel not reinforced. Bare wood.
Lorenzo di Niccolò, beginning of the 15th century, previously attributed to Niccolo di Pietro Gerini
609. The Virgin and Child with Eight Angels, Paris, Musée du Louvre (No. 1316, p. 62. Inv. no. M.I. 363)
850 × 610 × 28 mm
Sample 116. Vertical grain. The lateral parts of the panel are insect damaged; the middle is in good condition. Three unequal boards. Cross-bar loosely attached at the top of the support. Linen cloth covers the front surface (T.116). Bare wood.
Bastiano Mainardi, end of the 15th century
610. Portrait of a Young Man, Paris, Musée du Louvre (No. 1367B, p. 81. Inv. no. R.F. 2084) (paired with 611)
515 × 395 × 30 mm
Visual examination. Vertical grain. Good condition. One board enlarged with a 15 mm strip on the left side. Numerous irregularities in the structure; knots, splits. Substantial warping. Attached frame. Panel not reinforced. Bare wood.
Bastiano Mainardi, end of the 15th century
611. Portrait of a Young Woman, Paris, Musée du Louvre (No. 1367C, p. 82. Inv. no. R.F. 2085) (paired with 610)
515 × 395 × 30 mm
Visual examination. Vertical grain. Very good condition. One board, a wooden strip of 46 mm on the left edge and another 10 mm wide strip on the top edge of the panel. Large knot near the top on the right. Uniformly cut. Three mortice holes on the edge of the left side. Attached frame. Bare wood. Support not reinforced.
Bastiano Mainardi, end of the 15th century
612. The Virgin and Child with St John the Baptist and Angels, tondo, Paris, Musée du Louvre (No. 1367, p. 81. Inv. no. M.I. 547)
Diameter 930 mm; thickness 35 mm
Samples 72, 72A. Vertical grain. Insect damage. Five boards. A cross-grain cross-bar of pine (sample 72A) is inset with dovetail joints in the middle of the panel. Panel cut with a saw; the cross-bar crudely cut with an axe.
The Master of the Nativity of Castello, 15th century
613. The Virgin and the Child Jesus holding a Goldfinch, Paris, Musée du Louvre (No. 1661A, p. 148. Inv. no. R.F. 1264)
820 × 530 × 20 mm
Sample 69. Vertical grain. Good condition. One board. Wooden strips on the edges of the four sides. Slight warping of the wood. A thick ground covers the surface.
The Master of the Nativity of Castello, 15th century
614. The Virgin and Child Surrounded by Four Angels, Paris, Musée du Louvre (No. 1657A, p. 149. Inv. no. R.F. 1506)
860 × 590 mm (thickness not measurable, very thick)
Visual examination. Vertical grain. Insect damage. One board widened with a small board on the right-hand side. Traces of saw marks. Numerous flaws in the wood. Traces of a lost cross-bar. Bare wood. Panel not reinforced.
Masaccio and Masolino, beginning of the 15th century
615. The Virgin and Child and St Anne, Florence, Galleria degli Uffizi (Inv. no. 8386)
1750 × 1030 mm
Sample 947. A study of the construction of this panel was not made.
Neri di Bicci, 15th century
616. The Virgin and Child, Paris, Musée du Louvre (No. 1397, p. 88. Inv. no. M.I. 484)
850 × 560 × 10 mm
Sample 117. Vertical grain. Extensive insect damage; open insect channels. One board (?). Knots. Two cross-bars attached and glued across the grain. Wooden strips on the edges of the sides of the panel. The whole surface has been stained.
Niccolò di Pietro Gerini, 14th century
617. Triptych: The Virgin gives her Girdle to St Thomas, each wing: Two Saints, Arezzo, church of St Francis
Sample 646. Each panel: vertical grain. Two boards. Two iron cross-bars, inset and screwed in, hold the three panels together. (The location within the church prevented both the measurement of the dimensions and a thorough examination of the wood or panel construction.)
Attributed to the School of Niccolò di Pietro Gerini, beginning of the 15th century, previously attributed to the Florentine School, 15th century
618. The Trinity, Lyon, Musée des Beaux-Arts (Inv. no. H. 652)
915 × 495 × 25 mm
Sample 493. Vertical grain. Seemingly good condition. Two boards. Very roughly cut (adze or paring-axe).
Francesco Pesellino, 15th century
619. Predella: Sts Cosmas and Damian Caring for the Sick (scene on the right); St Francis of Assisi Receives the Stigmata (scene on the left), one panel, Paris, Musée du Louvre (No. 1414, p. 94. Inv. no. 418; M.R. 408)
315 × 940 × 37 mm
Samples 125 A, B. Horizontal grain. Very good condition. Panel not reinforced. Wood stained.
Francesco Pesellino (?), first half of the15th century, previously attributed to Fra Filippo Lippi
620. The Adoration of the Magi, Chantilly, Musée Conde (No. 12)
262 × 415 × 10 mm
Sample 163. Horizontal grain. Good condition; very few insect holes. One board. Roughly cut. Knots. Wooden strips of 8 and 10 mm, on the left and upper side edges of the panel. Bare wood. Panel not reinforced. Stamp.
Pseudo-Pier Francesco Fiorentino, second half of the 15th century, after Pesellino
621. The Virgin with a Rose Bush, Paris, Musée du Louvre (No. 1695, p. 149. Inv. no. R.F. 2222)
605 × 430 × 50 mm
Sample 47. Vertical grain. Extensive insect damage. One board. Paint covers the surface. Panel not reinforced. Warped.
Piero di Cosimo, end of the 15th century
622. The Virgin and Child, Paris, Musée du Louvre (No. 1662, p. 95. Inv. no. 817; M.R. 241)
870 × 577 × 30–34 mm
Sample 75. Vertical grain. Good condition. Three inset cross-bars. Brown paint; fleur de lis in the centre and at the top of the panel. One seal.
Cosimo Rosselli, 15th century (museum attribution: Florentine School, 15th century)
623. The Adoration of the Magi, panel of a cassone, Paris, Musée du Louvre (No. 1657C, p. 147. Inv. no. R.F. 989)
210 × 640 × 11 mm
Visual examination. Horizontal grain. Extensive insect damage. Wooden strips on the upper and lower edges and one side edge of the panel. Wood warped. Panel not reinforced. Inscription on glued paper.
Jacopo del Sellaio, 15th century
624. The Coronation of Esther, cassone, Paris, Musée du Louvre (No. 1657D, p. 120. Inv. no. R.F. 1274)
460 × 440 × 8 mm
Sample 37. Horizontal grain. Apparent good condition. One board. Split in wood. Cradled panel.
Jacopo del Sellaio, 15th century
625. The Descent from the Cross, Lyon, Musée des Beaux-Arts (Musées Nationaux Collection Campana, No. 312)
445 × 630 × 36 mm
Sample 488. Horizontal grain. Extensive insect damage.
Jacopo del Sellaio, 15th century
626. Penitent St Jerome, Paris, Musée du Louvre (No. 1658, p. 120. Inv. no. M.I. 500)
610 × 410 × 32 mm
Sample 66. Vertical grain. Extensive insect damage. One board. Traces of a ground and paint layer on the reverse. Warped panel. Support not reinforced.
Luca Signorelli, second half of the 15th century
627. Predella: The Nativity of St John the Baptist, Paris, Musée du Louvre (No. 1525, p. 121. Inv. no. 670; M.R. 3934)
330 × 700 × 40 mm
Sample 178. Horizontal grain. Some insect holes. One board. Worked with an adze. Edges of the panel are crudely thinned. Bare wood. Support not reinforced. Initials M.R. painted in white.
Luca Signorelli and his workshop, end of the 15th century
628. Seven People, fragment. Paris, Musée du Louvre (No. 1527, p. 121. Inv. no. M.I. 541), Campana Collection
1030 × 700 × 25 mm
Sample 177. Vertical grain. Four boards. Panel not reinforced.
Paolo Uccello,15th century
629. The Battle of San Romano, Paris, Musée du Louvre (No. 1273, p. 93. Inv. no. M.I. 469)
1820 × 3170 × 12 mm
Sample 77. Horizontal grain. apparently good condition. Five boards (?). Painted on marouflaged cloth. Cradled panel.
Paolo Uccello, 15th century
630. Portrait of a Young Man, Chambery, Musée des Beaux-Arts
466 × 364 × 15 mm (edges); 19 mm (centre)
Visual examination. Vertical grain. Extensive insect damage. One board. A thick ground and a layer of paint cover the surface. Panel not reinforced.
Zanobi Macciavelli, 15th century, previously attributed to the School of Fra Filippo Lippi
631. The Virgin and Child, Besançon, Musée des Beaux-Arts (Inv. no. 896.I.183) Legs Gigoux, No. 263
785 × 580 × 40 mm
Sample 592. Vertical grain. Some insect holes. One board. Finely cut with a saw. Seven red circular seals. Slight warping of the panel. Splits only at the edges of the sides.
Alunno di Domenico (Bartolommeo di Giovanni), end of the 15th/beginning of the 16th century
632. The Marriage of Thetis and Perseus, cassone, Paris, Musée du Louvre (No. 1416A, p. 30. Inv. no. R.F. 1346)
425 × 1500 × 30 mm
Visual examination. Horizontal grain. Good condition; some insect holes. One board. Bare wood. Panel not cradled.
Alunno di Domenico (Bartolommeo di Giovanni), end of the 15th/beginning of the 16th century
633. The Procession of Venus (Thetis?), cassone, Paris, Musée du Louvre (No. 1416B, p. 30. Inv. no. R.F. 1347)
426 × 1500 × 30 mm
Sample 70. Horizontal grain. Good condition. One board. Bare wood. Panel not reinforced.
Andrea (Vanucci) del Sarto, 16th century
634. The Virgin and Child, St Elizabeth, St John and Two Angels, Paris, Musée du Louvre (No. 1515, p. 118. Inv. no. 713; M.R. 37)
1420 × 1080 × 15 mm
Sample 98. Vertical grain. Extensive insect damage. Multiple boards (?). A coloured ground covers the surface. Reduced cradle.
After Andrea (Vanucci) del Sarto,16th century
635. The Annunciation, Paris, Musée du Louvre (No. 1517, p. 118. Inv. no. 716; M.R. 3763)
950 × 1890 × 30 mm (arched panel)
Sample 105. Horizontal grain. Extensive insect damage. Two unequal boards. Saw marks visible. Two cross-bars.
Fra Bartolommeo (Baccio della Porta), 1511
636. The Mystic Marriage of St Catherine of Siena, Paris, Musée du Louvre (No. 1154, p. 31. Inv. no. 97; M.R. 222)
2540 × 2270 × 35 mm
Sample 15. Vertical grain. Good condition. Six boards. Two cross-grain cross-bars. (Examination incomplete due to the painting’s position in the museum.)
Bronzino (Angelo Allori), 16th century
637. The Holy Family, Paris, Musée du Louvre (No. 1183A, p. 40. Inv. no. R.F. 1348)
1320 × 1020 × 20 mm
Sample 144. Vertical grain. Numerous open insect channels. Two boards. Wooden strips on the edges of the four sides of the panel. Thinning of the support allows us to see the assembly dowels in the upper right section. Panel not reinforced.
Bronzino (Angelo Allori), 16th century
638. Portrait of Bartolommeo Panciatichi, Florence, Galleria degli Uffizi (Inv. no. 741)
1030 × 850 × 37 mm
Sample 956. Vertical grain. Three boards.
Giulio Bugiardini, 16th century
639. Portrait of Michelangelo, Paris, Musée du Louvre (No. 1649, p. 40. Inv. no. 874; M.R. 806)
490 × 360 × 6 mm
Sample 326. Vertical grain. Good condition; some insect holes. Edges of the panel are bevelled. Wooden strip in oak attached below. Inscription in black letters on a cream-coloured background.
Attributed to Franciabigio, beginning of the 16th century
640. Portrait of a Young Man, Paris, Musée du Louvre (No. 1644, p. 60. Inv. no. 517)
755 × 595 × 10 mm
Samples 417, 1012 A–E. Vertical grain – central part and edges; horizontal grain – upper and lower parts. Insect damage; open insect channels. Five boards: three in the centre, one at the top and one at the bottom. The central part measures 600 × 440 mm. Cradled panel.
Francesco Granacci, 16th century
641. Joseph Presents his Father and Brothers to Pharaoh, part of a series of paintings on the life of St Joseph, Florence, Galleria degli Uffizi (Inv. no. 2152)
950 × 2240 mm
Sample 946. Horizontal grain. (Study of the construction of the panel was not carried out.)
Pontormo (Jacopo Carrucci), 16th century
642. Portrait of a Man, Paris, Musée du Louvre (No. 1241, p. 49. Inv. no. 233; M.R. 423)
695 × 523 (without wooden strip) × 18 mm
Sample 97. Horizontal grain. Good condition; some insect holes. Two boards of unequal width. The board on the right measures 225 mm at the top, 242 mm at the base; that on the left 295 mm at the top and 280 mm at the base. Three cross-grain cross-bars, tapered and placed head to tail. Wooden strips on the edge of the left side of the panel. A brown paint covers the surface.
Foligno
Niccolò da Foligno (Niccolò di Liberatore), 1492
643–647. Predella: Scenes from the Passion, five panels, Paris, Musée du Louvre (No. 1120, p. 89. Inv. no. 53; M.R. 35)
Left to right:
643. Two Angels
395 × 181 × 23 mm
Visual examination. Vertical grain. Good condition. One board. Worked with an adze. Flaw in the wood in the centre of the panel. Bare wood. Support not reinforced.
644. Christ in Prayer in the Garden of Olives; The Flagellation
397 × 850 × 30 mm
Visual examination. Horizontal grain. Excellent condition. One board. Split across the whole width. Emplacement for an inset cross-grain cross-bar in the centre of the panel. Roughly cut. Bare wood. Support not reinforced.
645. Christ Carrying the Cross
392 × 670 × 28 mm
Sample 36. Horizontal grain. Excellent condition. One board. Emplacement for an inset cross-grain cross-bar, on the right of the panel. Roughly cut. Bare wood. Support not reinforced.
646. Christ on the Cross between Two Thieves
395 × 830 × 28 mm
Visual examination. Horizontal grain. Excellent condition. One board. Emplacement for an inset cross-grain cross-bar in the centre of the panel. Bare wood. Support not reinforced.
647. Joseph of Arimathea and Nicodemus on the Way to Calvary
399 × 181 × 25 mm
Visual examination. Vertical grain. Good condition. One board. Panel not reinforced. Bare wood.
Lombardy-Liguria
Carlo Braccesco, 15th century, previously attributed to the Ligurian School, 15th century
648–650. Triptych, three panels, Paris, Musée du Louvre (No. 1676; formerly No. 2721, p. 155. Inv. no. 1410; M.R. 3460), from the oratory of the Fregoso family in Genoa
648. Central panel: The Annunciation
1580 × 1080 × 30 mm approx.
Sample 418. Vertical grain. Extensive insect damage. Three boards – the central board is the widest. Panel not reinforced. Bare wood.
649. Wing: St Benedict and St Augustus
1040 × 520 × 33 mm
Sample 415. Vertical grain. Insect damage. Panel not reinforced. Bare wood.
650. Wing: St Stephen and St Angelo
1040 × 520 × 32 mm
Sample 416. This panel is similar to 649.
Giovanni Massone, end of the 15th/ beginning of the 16th century
651–653. Triptych, Paris, Musée du Louvre (No. 1384, p. 84. Inv. no. 362)
651. Centre: The Nativity
1766 × 725 × 35 mm (arched panel)
Sample 927. Vertical grain. A lot of insect damage. One board. Very crudely cut using a doloire (wagoner’s axe) or adze. Modern cross-bars at the base. Two nails through the front at the top, three at the base where two missing cross-bars were attached. Thinning of the wood at this point. Inscription in large black letters.
652. Right panel: The Cardinal Julius of Rovere and St Francis
1180 × 573 × 30 mm (arched panel)
Sample 928. Vertical grain. Good condition; some insect holes. One board. Two nails through the front at the base of the panel. Roughly cut and inscription as panel 651.
653. Left panel: Pope Sixtus IV at the Knee of St Anthony of Padua
1180 × 573 × 30 mm (arched panel)
Sample 929. Vertical grain. Very good condition. Recent cross-bar towards the base of the panel; this is thinned slightly at the top at the place where a previous cross-bar had once been attached. At this place, two nails remain, inserted through the face of the panel. Roughly cut and inscription as in 651 and 652.
Lucca
Lucchese School, ca. 1250–1260
654. Christ on the Cross and Scenes from the Passion, Florence, Galleria degli Uffizi (Inv. no. 434)
2470 × 2000 mm
Sample 939. Study of the construction of the panel was not made.
The Marches
Paolo di Giovanni da Visso, middle of the 15th century
655. The Virgin and Child, Paris, Musée du Louvre (Inv. no. R.F. 2364)
1300 × 530 × 30 mm
Sample 141. Vertical grain. Insect damage. Traces of cross-grain cross-bars.
Milan
Bernardino Butinone, second half of the 15th century, previously attributed to Gregorio Schiavone (museum attribution: Padua or Ferrare School)
656. The Virgin with Two Angels or The Virgin and the Infant under a Porch, Paris, Musée du Louvre (No. 1523, p. 120. Inv. no. M.I. 539)
645 × 407 × 20 mm
Sample 56. Vertical grain. Good condition. One board. Knot. Two cross-bars attached. Bare wood.
Bernardino Butinone, second half of the 15th century
657. St Anne and St Joseph, Paris, Musée des Arts Decoratifs (Inv. no. P.E. 105)
1315 × 734 × 32 mm
Sample 976. Vertical grain. Insect damage. One board. Saw marks on the surface of the reverse. Support not reinforced. Bare wood. Warped.
Bernardino Luini, end of the 15th century
658. The Virgin and Child with an Angel, Paris, Musée du Louvre (no number, p. 78. Inv. no. R.F. 2083), Arconati-Visconti Collection, no. 2
800 × 580 × 10 mm
Sample 309. Vertical grain. Insect damage. 4 mm auxiliary oak support panel (visual examination). Softwood cradle.
Giovanni Antonio Boltraffio, 1500
659. The Virgin and Child with St John the Baptist and St Sebastian and Two Donors known as the Pala Casio, Paris, Musée du Louvre (No. 1169, p. 36. Inv. no. 103)
1860 × 1840 × 4 mm
Sample 87. Vertical grain. Apparent good condition. Two inset cross-bars. Roughly cut. A brown paint covers the surface.
Marco D’Oggiono, beginning of the 16th century
660. The Nativity, Paris, Musée du Louvre (No. 1382, p. 84. Inv. no. 705)
1180 × 715 × 25 mm
Samples 923 A, B. Vertical grain. Two boards: the right one is in good condition, the left is insect damaged. Roughly cut. Two cross-grain cross-bars. A ground layer and brown paint covers the surface.
Marco D’Oggiono, beginning of the 16th century
661. The Virgin and Child, Paris, Musée du Louvre (No. 1382A, p. 84. Inv. no. R.F. 878)
485 × 370 × 9 mm
Sample 313. Vertical grain. Good condition; some insect holes. Wooden strips on the edges of the three sides of the panel. Bare wood.
Andrea Solario, 1503
662. The Crucifixion, Paris, Musée du Louvre (No. 1532, p. 123. Inv. no. 61)
1117 × 767 × 22–24 mm
Samples 930 A, B. Vertical grain. Some insect holes. Three boards. Assemblage with flush-edge joints. Wooden strips on the side edges of the panel. Two cross-bars in oak (sample 930B) across the grain. Support is warped.
Andrea Solario, signed, dated 1507
663. Head of St John the Baptist, Paris, Musée du Louvre (No. 1533, p. 123. Inv. no. M.I. 735)
465 × 430 mm (thickness not measurable)
Sample 327. Vertical grain. Good condition; some insect holes. Panel held in the rebate of the frame. Inscription on paper. Three seals. A layer of cream-coloured paint covers the surface.
Andrea Solario, beginning of the 16th century
664. Portrait of Charles d’Amboise (?), Paris, Musée du Louvre (No. 1531, p. 123. Inv. no. 674)
750 × 520 × 15 mm
Sample 146. Vertical grain. Good condition in appearance. One board. Unevenly cut. Saw marks. Two cross-bars, tapered, placed head to tail. A ground and paint layer covers the surface.
Andrea Solario, beginning of the 16th century
665. The Virgin on a Green Cushion, Paris, Musée du Louvre (No. 1530, p. 122. Inv. no. 673; M.R. 484)
595 × 474 × 8 mm
Sample 94. Vertical grain. Very good condition. One board. Sawn. Bare wood. Panel not reinforced.
Modena
Francesco de Bianchi Ferrari, second half of the 15th century
666. St John the Baptist as a Child, Paris, Musée du Louvre (No. 1274, p. 35. Inv. no. R.F. 200)
405 × 320 × 10 mm
Sample 242. Vertical grain. Good condition. One board. Wooden strip of 14 mm on the edge of the left side. Slight warping of the wood. Panel not reinforced. A ground layer covers the surface.
Umbria
School of Alegretto Nuzi, 14th century (museum attribution: School of Niccolo di Pietro Gerini)
667. The Mystical Marriage of St Catherine of Alexandria, Paris, Musée du Louvre (No. 1664, p. 62. Inv. no. M.I. 413)
1145 × 530 × 20 mm (upper corners cut sideways)
Sample 136. Vertical grain. Extensive insect damage, in particular in the lower part. Two unequal boards, 170 and 350 mm in width. The right board cut with an adze; the left board with a saw. Dowel holes on the side edges of the panel. Tip of forged nail in the upper part of the support. The work is painted on a marouflage canvas. Panel not reinforced. Frame applied to the front of the image.
In part Antoniazzo Romano, dated 1485
668. Triptych: The Virgin and Child between St Peter and St Paul, Florence, Galleria degli Uffizi (Inv. no. 3274)
Centre 750 × 440 mm; wings 730 × 210 mm (each)
Sample 937. Only one sample of the wood from the whole triptych was available. The construction of these panels was not studied.
Antoniazzo Romano, 15th century
669. The Virgin of ‘Rota’ with St Peter and St Paul, Rome, Pinacoteca Vaticana (No. 279; formerly no. 218), from the private apartments of the Vatican
1870 × 2120 × 70 mm
Sample 1156. Vertical grain. Good condition. Cross-bars.
Antoniazzo Romano, 1494
670. The Madonna and Child, Paris, Musée du Louvre (No. 1134 A, p. 27. Inv. no. R.F. 1712)
1230 × 710 × 10 mm
Sample 126. Vertical grain. Open insect channels. Many boards (?). Softwood cradle. A thin paint layer covers the surfaces.
Gentile da Fabriano, dated 1423
671. Predella: The Presentation in the Temple (central part and fragments of the predella in Florence, Galleria degli Uffizi, No. 8364), Paris, Musée du Louvre (No. 1278, p. 61. Inv. no. 295; M.R. 210)
265 × 615 × 28 mm
Sample 40. Horizontal grain. One board. Insect damage. A layer of paint and ground covers the surface.
Gentile da Fabriano, 1425
672. Quaratesi Polyptych: Four Saints, fragment, Florence, Galleria degli Uffizi (No. 887)
1800 × 2450 mm
Sample 944. The importance of the work led to a recording of the result of the wood analysis even though a study of the construction of the panel was not carried out.
Giovanni Francesco da Rimini, 15th century
673. The Charity of St Nicholas of Bari, Paris, Musée du Louvre (No. 1659, p. 64. Inv. no. R.F. 202)
250 × 530 × 33 mm
Visual examination. Horizontal grain. Good condition. One board. Worked with an adze. Bare wood. Panel not reinforced.
Lorenzo di San Severino the Younger (Lorenzo d’Alessandro), 15th century
674. Pietà, Florence, Galleria degli Uffizi (Inv. no. 3142)
620 × 1580 × 33 mm
Samples 936, 936A. Horizontal grain. (Study of the construction of the panel was not carried out.)
Giannicola Manni (Smicca) 1512
675. The Holy Family, Paris, Musée du Louvre (No. 1372, p. 82. Inv. no. 62)
2180 × 1480 × 35–40 mm (arched panel)
Sample 110. Vertical grain. Apparently good condition. Roughly worked on the reverse. Saw cut- marks visible on the edge of the right side. Wide cradle composed of three cross-grain cross-bars and four reinforcing members in the direction of the wood grain. A thick brown paint covers the surface.
Pietro Perugino, 15th century (museum attribution: Fiorenzo di Lorenzo)
676–678. Predella: Christ Standing in the Tomb and two scenes from the Legend of St Jerome, three panels, Paris, Musée du Louvre (No. 1415, p. 59. Inv. nos. M.I. 481, 482, 483)
676. Christ Standing in the Tomb (Inv. no. M.I. 481)
305 × 295 × 8–12 mm
Sample 119A. Horizontal grain. Some insect holes. Two inset cross-bars. Bare wood.
677. St Jerome Supporting Two Young People Unjustly Hanged (Inv. no. M.I. 482)
307 × 340 × 14 mm
Sample 119B. Horizontal grain. Some insect holes. Panel not reinforced. Bare wood.
678. Resurrection of a Bishop, Cardinal Andrew, by St Jerome (Inv. no. M.I. 483)
307 × 340 × 14 mm
Sample 119 C. Horizontal grain. Some insect holes.
Pietro Perugino, signed, 15th century
679. The Virgin and Child, St Catherine and St John the Baptist, Paris, Musée du Louvre (No. 1565, p. 130. Inv. no. 720)
800 × 660 × 38 mm
Sample 118. Vertical grain. Some insect holes; open channels on the edge of the left side. One board (?). A ground layer covers the surface. Panel not reinforced.
Pietro Perugino, 15th century
680. The Virgin and Child, St Catherine, St Rose and Two Angels, tondo, Paris, Musée du Louvre (No. 1564, p. 130. Inv. no. 719)
Diameter 1500 mm; thickness 30 mm
Samples 86 A–D. Vertical grain. Very good condition. Three boards. Two cross-grain cross-bars, attached with dovetail joints at either end. Four holes on the upper cross-bar show that some of the assembly has disappeared. One seal.
Pietro Perugino, 15th century
681. St Sebastian, Paris, Musée du Louvre (No. 1566, p. 130. Inv. no. R.F. 957)
1750 × 1140 × 13 mm
Sample 85. Vertical grain. Insect damage. Many boards. Reduced cradle.
Pietro Perugino, 15th century
682. Apollo and Marsyas, Paris, Musée du Louvre (No. 1509, p. 116. Inv. no. R.F. 370)
393 × 293 (without wooden strip) × 13 mm
Sample 67. Vertical grain. Very good condition. One board. Wooden strips on the edges of the four sides. Panel not reinforced.
Pietro Perugino, ca. 1500
683. St Sebastian, Paris, Musée du Louvre (No. 1668A, p. 151. Inv. no. R.F. 779)
300 × 130 × 10 mm
Sample 230. Vertical grain. Good condition. One board. Slight warping. Auxiliary 5 mm thick poplar panel (visual examination). Seal.
Pietro Perugino, beginning of the 16th century
684. St Paul, tondo, Paris, Musée du Louvre (No. 1566, p. 130. Inv. no. 721)
Diameter 1020 mm; thickness 30 mm
Sample 147. Horizontal grain. Good condition. Four boards, those at the top and bottom of the panel measure 130 and 135 mm in height respectively. Two cross-grain poplar cross-bars, roughly cut with an adze or paring-axe. A ground and paint layer covers the surface.
Pietro Perugino 1512–1516
685. St Herculanus and St James the Elder, Lyon, Musée des Beaux-Arts (No. 59. Inv. no. A. 67)
1735 × 945 × 30–35 mm
Sample 497. Vertical grain. Insect damage. Splits. Cross-bars.
Pintoricchio (Bernardino Betti), 15th century
686. The Virgin and Child with St Gregory and another Saint, Paris, Musée du Louvre (No. 1417, p. 95. Inv. no. M.I. 574)
590 × 410 × 22 mm
Visual examination. Vertical grain. Three cross-grain cross-bars screwed to the support and two smaller inset cross-grain cross-bars.
Lo Spagna (Giovanni di Pietro), 1510, completed by Mariano di ser Austerio
687. The Nativity, Paris, Musée du Louvre (No. 1539, p. 124. Inv. no. 314A)
1530 × 1330 × 37–40 mm
Sample 926. Vertical grain. Apparent good condition; some open insect channels. Six boards. Two strips of cloth on the joints. Two cross-grain cross-bars inset with dovetail joints. Bare wood.
Lo Spagna (Giovanni di Pietro), 1511
688. Christ Dead between the Virgin and St John, Paris, Musée du Louvre (No. 1568, p. 124. Inv. no. 3679) (belongs to the same predella as 689 and 690)
370 × 792 × 24 mm
Sample 133. Horizontal grain. Very good condition. One board. Panel thinned on the edges. Slight warping of the wood. Brown paint covers the surface.
Lo Spagna (Giovanni di Pietro), 1511
689. St Francis of Assisi Receives the Stigmata, Paris, Musée du Louvre (No. 1569, p. 125. Inv. no. 725; M.R. 205) (belongs to the same predella as 688 and 690)
378 × 812 × 33 mm
Sample 134. Horizontal grain. Good condition. One board. Slight warping. Brown paint covers the surface.
Lo Spagna (Giovanni di Pietro), 1511
690. St Jerome in the Desert, Paris, Musée du Louvre (No. 1570, p. 125. Inv. no. 726) (belongs to the same predella as 688 and 689)
393 × 812 × 32 mm
Sample 131. Horizontal grain. Very good condition. One board. Panel not reinforced. Brown paint covers the surface.
Lo Spagna (Giovanni di Pietro), 16th century
691. The Virgin and Child, Paris, Musée du Louvre (No. 1540, p. 124. Inv. no. 420; M.R. 421)
415 × 315 × 9 mm
Sample 248. Vertical grain. Good condition; some insect holes. One board. Reduced cradle.
Umbria-Emilia-Romagna
Marco Palmezzano, signed, 15th century
692. The Crucifixion, Florence, Galleria degli Uffizi (Inv. no. 1418)
1140 × 910 × 15 mm
Sample 938. Vertical grain. Four boards.
Marco Palmezzano, signed, dated 1510
693. The Dead Christ, Paris, Musée du Louvre (No. 1400, p. 91. Inv. no. M.I. 680)
820 × 793 × 8 mm
Sample 83. Vertical grain. Two boards. Glued butt joints. The edges at the top, on the right side and at the base have a painted bead 5 mm from the edge of the panel. The panel is reinforced with a cradle with a central cross-bar. A ground and black paint layer covers the surface.
Padua
Andrea Mantegna, 1459
694. The Altarpiece of St Zeno, right part of the predella: The Resurrection, Tours, Musée des Beaux-Arts (No. 260. Inv. no. 803.1.25) (the left part: Jesus in the Garden of Olives, was transposed)
710 × 940 × 28 mm
Samples 267; 1514. Horizontal grain. Some insect holes. Two boards. Two inset cross-grain cross-bars.
Andrea Mantegna, 1459
695. The St Zeno Altarpiece, central panel of the predella, The Crucifixion, Paris, Musée du Louvre (No. 1373, p. 83. Inv. no. 368)
705 × 950 × 33 mm
Sample 54. Horizontal grain. Three boards. Three stave-cut cross-bars placed head-to-foot are attached across the grain. Strips of cloth over the joins of the boards. A layer of brown paint covers the surface.
Andrea Mantegna, ca. 1468
696. The Madonna of the Quarry, Florence, Galleria degli Uffizi (Inv. no. 1348)
320 × 300 × 6 mm
Sample 935. Vertical grain. One board.
Bernardo Parenzano (Parentino), 1437–1531
697. The Adoration of the Magi, Paris, Musée du Louvre (No. 1678, p. 94. Inv. no. M.I. 592), Campana Collection
370 × 540 × 20 mm
Sample 139. Vertical grain. Insect damage. Two boards. Wooden strips on the edges of the sides of the panel. A thick paint covers the surface. Support not reinforced. A wax seal.
Parma
Attributed to Niccolò dell’Abate, 16th century
698. Portrait of a Young Man in a Hat, Florence, Galleria degli Uffizi (Inv. no. 1377)
470 × 410 mm
Sample 950. Vertical grain. (A study of the construction of the panel was not carried out.)
Michelangelo Anselmi, first half of the 16th century
699. The Glorious Virgin, Paris, Musée du Louvre (No. 1133, p. 26. Inv. no. 67)
1680 × 1230 × 14 mm
Sample 107. Vertical grain. Good condition. 20 mm and 33 mm wooden strips on the edges of the base and top of the panel. Cradle (which prevented examination of the construction of the panel).
Il Parmigianino (Francesco Mazzola), first half of the 16th century
700. Portrait of an Artist (?), Florence, Galleria degli Uffizi (Inv. no. 1623)
1000 × 700 × 20 mm
Samples 955 B, C. Good condition. (Examination of the panel construction was not carried out.)
Il Parmigiano (Francesco Mazzola), after 1534
701. The Madonna with a Long Neck, Florence, Galleria degli Uffizi (Inv. no. 230 P)
2160 × 1320 mm
Sample 949. Vertical grain. Five boards.
Parma School, possibly D’Alessandro Mazzola, second half of the 16th century
702. The Holy Family, Paris, Musée du Louvre (No. 1386A, p. 86. Inv. no. M.I. 609), Campana Collection
632 × 535 × 6 mm
Samples 315 A, B. Vertical grain. One board. Wooden strips on the edges of the four sides. Panel reinforced with a cradle with two central oak cross-bars (sample 315B).
Pisa
Pisan School, 14th century, previously attributed to Lippo Vanni
703. The Virgin and Child, Angers, Musée des Beaux-Arts
910 × 520 × 33 mm
Sample 469. Vertical grain. Insect damage; insect channels in particular at the top of the panel. One board. Support not reinforced. Bare wood.
Pisan School, 15th century (museum attribution: School of Giotto)
704. The Funeral of St Bernard, Dijon, Musée des Beaux-Arts (in store at the Musée du Louvre, Inv. no. 313)
305 × 405 × 29 mm
Visual examination. Horizontal grain. A little insect damage. One board. Slight warping of the panel. Panel not reinforced.
Rimini
Rimini School, 14th century, previously attributed to Giovanni Baronzio
705. Ecce Homo, Moulins, Museum, in store (Musées Nationaux, Campana Collection, No. 70)
473 × 320 × 25 mm
Sample 993. Vertical grain. Some insect holes. Red paint on marouflaged cloth covers the surface. Panel not reinforced.
Pietro da Rimini, 14th century, previously attributed to Giovanni Baronzio
706. The Descent from the Cross, Paris, Musée du Louvre (Inv. no. R.F. 2287)
429 × 348 × 16 mm (edges); 27 mm (centre)
Sample 63. Vertical grain. Extensive insect damage. One board thinned on the lateral edges. Painted on marouflaged cloth. A red paint covers the surface on the reverse. Two splits at half-height, one from the bottom, one from the top of the panel. Wood warped. Panel not reinforced.
Giovanni Francesco da Rimini, 15th century
707. St Vincent Ferrier and Scenes of his Life, predella. Florence, Galleria della Accademia, Florence (Inv. no. 3461)
1490 × 700 × 43 mm
Sample 918. Vertical grain. Good condition. Two boards. Three cross-grain cross-bars.
Ferrara-Romagna
Francesco Zaganelli da Cotignola, second half of the 15th century
708. Aristaeus Pursuing Eurydice (?), Paris, Musée des Arts Décoratifs (No. 343. Inv. no. P.E. 106)
638 × 707 × 30 mm
Sample 977. Horizontal grain. Insect damage. Two boards. An inset cross-grain cross-bar in the centre of the panel. Strips of cloth probably placed over the sites of since disappeared cross-bars. Wooden strips on the left edge. The wood is lightly stained.
Siena
Duccio, 13th century
709. The Rucellai Madonna, Florence, Galleria degli Uffizi (no number)
4500 × 2900 mm
Sample 933. The construction of the panel not studied.
School of Duccio, ca. 1320
710. Painted Cross, Siena, Pinacoteca Nazionale (No. 21)
1440 × 1330 × 30 mm
Sample 693. Vertical grain. Insect damage. Two splits. Two cross-bars in the form of a cross reinforced with uprights. A ground layer covers the surface.
Sienese School, 13th century
711. Christ on the Throne and History of the Cross, Siena, Pinacoteca Nazionale (No. 1)
1030 × 1960 × 40 mm
Sample 681. Horizontal grain. Insect damage. Reinforcing frame around a central cross-bar. A split the length of the panel at the base. A thin ground layer covers the surface.
Guido da Siena, dated 127. (1270–1279)
712. The Virgin with St Francis, St John the Baptist, Mary Magdalene and another Saint, Siena, Pinacoteca Nazionale (No. 7)
920 × 2070 × 50 mm
Sample 688. Horizontal grain. A little insect damage. Two splits along the width of the panel; one at the top the other at the base. Four recent screwed-in cross-bars. Red paint covers the surface.
Guido da Siena, 13th century
713. Eight Episodes from the Life of St Francis, St Dominic, St Claire and another Saint, Siena, Pinacoteca Nazionale (No. 313)
2320 × 1130 × 30 mm
Sample 695. Vertical grain. Insect damage. Two splits. Four cross-bars.
Workshop of Guido da Siena, 13th century
714. The Virgin and Child, Siena, Pinacoteca Nazionale (No. 17)
500 × 300 × 25 mm
Sample 684. Vertical grain. Extensive insect damage. Panel not reinforced. A ground layer covers the surface.
Bartolo Di Maestro Fredi, 14th century
715. The Presentation in the Temple, Paris, Musée du Louvre (No. 1151, p. 30. Inv. no. M.I. 394)
1800 × 1250 × 34 mm (upper corners cut sideways)
Sample 25. Vertical grain. A few insect holes. Three unequal boards, measuring respectively from left to right, 360, 570 and 320 mm in width. Saw marks.
Bartolo di Maestro Fredi, 14th century
716. The Coronation of the Virgin, Siena, Pinacoteca Nazionale (No. 580)
1020 × 700 × 20 mm
Sample 690. Vertical grain. Good condition. Panel thinned. Three cross-grain cross-bars, reinforced with uprights. Other reinforcing uprights on the lateral edges of the panel.
Sienese School, ca. 1320
717. The Virgin and Child, Siena, Pinacoteca Nazionale (No. 18)
1100 × 900 × 25 mm
Sample 694. Vertical grain. Insect damage. Cradled panel.
Ambrogio Lorenzetti, 1332–1334
718. St Procula, part of a triptych, Florence, Galleria degli Uffizi (Inv. no. 62), from the church of San Procolo, Florence
1450 × 430 mm
Sample 932. The construction of the panel was not studied.
Ambrogio Lorenzetti, 1344
719. The Annunciation, Siena, Pinacoteca Nazionale (No. 88)
1080 × 1100 × 25 mm
Sample 683. Vertical grain. A little insect damage. Cradled panel. A thin ground layer covers the surface.
Ambrogio Lorenzetti, 14th century (museum attribution: Lippo Vanni)
720. The Charity of St Nicholas of Bari, Paris, Musée du Louvre (No. 1562A, p. 129. Inv. no. R.F. 2096)
300 × 200 × 6 mm
Sample 328. Vertical grain. Open insect channels.
Pietro Lorenzetti, 1320
721. Polyptych, central panel: The Virgin and Child, Arezzo, parish church of Santa Maria called Santa Maria della Paroisse
Sample 647. The location of this polyptych in the church prevented the study of the support.
Pietro Lorenzetti, 1332
722–724. Triptych, three panels, Siena, Pinacoteca Nazionale (No. 79A, 81B, 82)
722. St Bartholomew
840 × 320 × 25 mm
Sample 692A. Vertical grain. slight insect damage.
723. St Cecilia
840 × 320 × 25 mm
Sample 692B. This panel is similar to 722.
724. St John the Baptist
840 × 320 × 25 mm
Sample 692C. This panel is similar to 722 and 723. The three panels of the triptych are held together by two recent cross-bars.
Pietro Lorenzetti, 14th century
725. The Birth of St John the Baptist, Paris, Musée du Louvre (No. 1317, p. 75. Inv. nos M.I. 385; M.R. 365), Campana Collection
270 × 360 × 29 mm
Visual examination. Horizontal grain. Roughly cut wood.
Lippo Memmi, ca. 1330
726. The Virgin and Child, Siena, Pinacoteca Nazionale (No. 595)
1470 × 590 × 25 mm
Sample 682. Vertical grain. Extensive insect damage. Panel not reinforced.
Lippo Memmi, 14th century
727. St Peter, Paris, Musée du Louvre (No. 1152, p. 86. Inv. no. M.I. 690)
940 × 444 × 3 mm approx.
Visual examination. Vertical grain. Extensive insect damage. One board. Panel not reinforced. Trace of a ground on the surface.
Niccolò di Segna, first half of the 14th century (museum attribution: School of Duccio, 13th century)
728. The Virgin and Child Enthroned with Saints and Donors, Paris, Musée du Louvre (No. 1620, p. 56. Inv. no. M.I. 411)
390 × 260 × 12 mm (with frame)
Sample 68. Vertical grain (?). Good condition. One board (?).
Simone Di Martino, second quarter of the 14th century
729. Christ Walking to Calvary, fragment, Paris, Musée du Louvre (No. 1383, p. 122. Inv. no. 670A)
300 × 200 × 15 mm (with frame)
Sample 71. Vertical grain. Excellent condition. One board (?). Panel held in the rebate of the original frame. On the reverse, a central coat of arms painted on a background of marbled paint.
Taddeo di Bartolo, end of the 14th century
730. The Crucifixion, Paris, Musée du Louvre (No. 1622, p. 125. Inv. no. M.I. 417)
242 × 560 × 30 mm
Sample 26. Horizontal grain. Some insect holes. One board. Frame in spruce (visual examination). Bare wood. Panel not reinforced.
Ugolino da Siena, 14th century, previously attributed to the Sienese School, 14th century
731. Predella (in the centre) Christ on the Cross, (on the left) The Virgin, (on the right) St John, one panel, Besançon, Musée des Beaux-Arts (Inv. no. 897 I. 147)
185 × 1280 × 25 mm approx.
Sample 593. Horizontal grain. Very good condition; some insect holes. One board. 22 mm wooden strip on the edge of the base of the panel. The four corners of the support are champfered. Wood stained. Warped panel.
Ugolino da Siena, beginning of the 14th century
732–736. Altarpiece: The Virgin, Infant and Four Saints, five panels, Siena, Pinacoteca Nazionale (No. 39)
732. Central panel
840 × 472 × 27 mm (thickness with cornice: 45 mm)
Sample 596C. Vertical grain. Insect damage. One board. Traces of old cross-bar emplacements at the top and bottom of the support. Panels held together by a system of unattached cross-bars and aluminium brackets. A ground and paint layer cover the surface. Painted on marouflaged cloth.
733. Inner right panel
688 × 330 × 28 mm
Sample 596B. Construction of the panel is similar to 732.
734. Inner left panel
690 × 350 × 28 mm
Sample 596D. Construction of the panel is similar to 733.
735. Outer right panel
688 × 330 × 25 mm
Sample 596A. Construction of the panel is similar to 734.
736. Outer left panel
690 × 350 × 30 mm (uneven thickness)
Sample 596E. Construction of the panel is similar to 735.
Andrea Vanni, second half of the 14th century
736A. Christ on the Cross and Two Prophets, Siena, Pinacoteca Nazionale (No. 114)
950 × 1050 × 40 mm
Sample 689. Vertical grain. Good condition. One cross-bar. A ground layer covers the surface.
Andrea di Bartolo, beginning of the 15th century
737. St Savinien, fragment of a lost polyptych, Paris, Musée du Louvre (Inv. no. R.F. 3166; M.N. 229A)
1020 × 355 × 32 mm
Sample 120. Vertical grain. Some insect holes. One board. Knots. Three holes for assembly dowels on the side edges of the panel. Bare wood. Support not reinforced.
Sienese School, 15th century (?)
738. St Jerome, Paris, Musée du Louvre (No. 1624, p. 150. Inv. no. 839)
350 × 150 × 20 mm
Sample 216. Vertical grain. Traces of inset cross-grain cross-bar in the centre of the panel.
Giovanni di Paolo, 15th century
739. The Procession of Clement VI before Castel Sant'Angelo, fragment, Paris, Musée du Louvre (No. 1659A, p. 64. Inv. no. R.F. 672)
405 × 420 × 20 mm
Visual examination. Horizontal grain. Some insect holes One board. Bare wood. Panel not reinforced.
Giovanni di Paolo, 15th century
740. St James, fragment of a polypytch, Siena, Pinacoteca Nazionale (No. 213)
760 × 390 × 35 mm
Sample 687. Vertical grain. Good condition. The spire-shaped upper part of the panel was added later. A ground layer covers the surface. Panel not reinforced.
Girolamo di Benvenuto, end of the 15th/beginning of the 16th century
741. The Judgement of Paris, tondo, Paris, Musée du Louvre (No. 1668, p. 65. Inv. no. 587)
Diameter 655 mm (without frame); approx. 30 mm thick
Sample 132. Vertical grain. Good condition. The painting on the reverse shows a family crest, three porcupines and a person on a black background. Painted on marouflaged cloth.
The Master of the Observance, 15th century
742. St Anthony, Abbot, Paris, Musée du Louvre (No. 1691, p. 151. Inv. no. R.F. 2470)
725 × 590 × 30 mm
Sample 35. Vertical grain. Some insect holes. One board. Large knots in the middle and at the top right of the panel. Bare wood. Panel not reinforced. Seal.
Matteo di Giovanni, 15th century
743. The Virgin and Child in a Landscape, Siena, Pinacoteca Nazionale (No. 283)
800 × 550 × 35 mm
Sample 685. Vertical grain. Good condition. Panel not reinforced. A ground covers the surface.
Neroccio di Bartolommeo de Landi, second half of the 15th century
744. The Virgin and Child between St John the Baptist and St Anthony, Paris, Musée du Louvre (No. 1398A, p. 89. Inv. no. R.F. 1939)
428 (with wooden strip) × 320 × 20 mm
Samples 41 B–D. The panel has an auxiliary support. Vertical grain. Numerous insect holes, particularly visible on the edges of the two panels. These panels are each composed of a single board. Each panel has an auxiliary poplar panel support, primarily attached with glue (sample 41B). 12 mm wide strips of poplar (sample 41D) at the edges of the top and bottom of the face of the panel. Shaped with an adze. Probably added at the time the panel was made. Bare wood. Panel not reinforced.
Pellegrino di Mariano, 15th century
745. The Virgin and Child, St Francis, St John the Baptist, Lyon, Musée des Beaux-Arts (Inv. no. H. 983)
630 × 290 × 10 mm
Sample 483. Vertical grain. Insect damage. Trace of dovetail joints. A thick ground covers the surface.
Sano di Pietro, 1406–1481
746–750. Predella: History of St Jerome, five panels, Paris, Musée du Louvre (Nos. 1128–1132, pp. 25–26. Inv. nos. M.I. 470–474)
746. Apparition of St Jerome and St John the Baptist to St Augustus (No. 1132. Inv. no. M.I. 474)
244 × 377 × 14 mm
Sample 33A. Horizontal grain. One board. Some open insect channels. Bare wood. Panel not reinforced.
747.The Death of St Jerome and his Apparition to St Augustus (No. 1131. Inv. no. M.I. 473)
249 × 386 × 13 mm
Sample 33B. Construction of the panel is similar to 746.
748. St Jerome Kneeling in the Desert (No. 1129. Inv. no. M.I. 471)
247 × 387 × 13 mm
Sample 33C. Construction of the panel is similar to 747.
749. St Jerome’s Dream (No. 1128. Inv. no. M.I. 470)
242 × 380 × 13 mm
Sample 33D. Construction of the panel is similar to 748.
750. St Jerome and the Lion (No. 1130. Inv. no. M.I. 472)
249 × 795 × 14 mm
Sample 34. Construction of the panel is similar to 749.
Sano di Pietro, 1406–1481
751. The Virgin and Child, central panel of a polyptych, Siena, Pinacoteca Nazionale (No. 236)
1050 × 530 × 35 mm
Sample 686. Vertical grain. Good condition. Panel not reinforced.
Stefano di Giovanni Sassetta, 15th century
752. Polyptych: The Virgin and Child, Two Angel Musicians, St Marguerite, St John the Baptist, St Michael and St Nicholas, Cortona, church of San Domenico
1340 × 2440 × 30 mm
Sample 640. Examination incomplete: the panel was being relocated.
Venice
Catarino Veneziano, signed, 1375
753. The Coronation of the Virgin, Venice, Galleria dell’Accademia (No. 16. Inv. no. 545)
888 × 580 × 14 mm
Sample 632. Vertical grain. Good condition. One board, split midway up the panel. Three reinforcing members glued along the grain of the wood, segments of cross-bars screwed in. Inscription on black lettering. Bare wood.
Venetian School (style of Lorenzo Veneziano), 14th century
754. Polyptych: The Virgin and Child Surrounded by Saints, Rome, Pinacoteca Vaticana (No. 573), from the Vatican Library
2000 × 9555 × 25 mm
Sample 1159. Vertical grain. Insect damage. Six boards. Bare wood.
Lorenzo Veneziano, signed, dated 1359
755. The Mystical Marriage of St Catherine, with Two Angel Musicians, Venice, Galleria dell’Accademia (No. 650. Inv. no. 944)
925 × 580 × 25 mm (uneven thickness)
Sample 633. Vertical grain. Insect damage; open channels. Panel split from the base to mid-height in the centre. Thinning, using a plane, of the edges at the top and bottom of the support. Bare wood. Panel warped.
Lorenzo Veneziano, dated 1371
756. St Mark, Venice, Galleria dell’Accademia (No. 5a. Inv. no. 203) (paired with St Peter, not studied)
1150 × 440 × 15 mm
Sample 634. Vertical grain. Insect damage. One board. Three wide uprights and segments of cross-bars. Bare wood.
Lorenzo Veneziano, signed, dated 1372
757. The Virgin and Child Jesus with a Rose, Paris, Musée du Louvre (No. 1348C, p. 76. Inv. no. M.I. 395).
1015 × 590 × 15 mm
Sample 27. Vertical grain. Numerous insect holes; four unequal boards measuring approx. 190 and 270 mm in width at the centre and 50 mm at the sides. Saw marks on the central boards of the panel and the smaller board on the right side. Assembly of the lateral boards is very rough. Some long forged nails are visible at the joins. Two cross-bars attached by nails hammered through the front of the panel. Bare wood.
Niccolò di Pietro, signed dated 1394
758. The Virgin and Child with a Worshipper Kneeling and Angel Musicians, Venice, Galleria dell’Accademia (No. 19. Inv. no. 84)
1070 × 655 × 16 mm
Sample 635. Vertical grain. Open insect channels. One board. Traces of two inset cross-bars. Bare wood.
Paolo Veneziano, dated 1353, previously attributed to the Venetian School, 1354
759. The Virgin and Child, central panel of a triptych, Paris, Musée du Louvre (No. 1541, p. 151. Inv. no. M.I. 396) (for the wings see 760 and 761)
1014 × 625 × 25 mm (arched panel)
Sample 23. Vertical grain. Insect damage. One board. The uprights bars on the sides are fixed to the panel with old nails. Attached frame. Bare wood. Panel not reinforced.
Paolo Veneziano, 1353, previously attributed to the Venetian School, 1354
760. St Francis and St John the Baptist, left wing of a triptych, Paris, Musée du Louvre (Inv. no. M.I. 396?) (once in Toulouse, Musée des Beaux-Arts), Campana Collection (for the central panel of the ensemble see 759 and the right wing 761)
845 × 496 × 20 mm
Samples 268 A, B. Vertical grain. Good condition; some insect holes. One board. A split through the whole thickness and height of the panel. Two cross-bars. Original attached frame in lime (sample 268B). Bare wood.
Paolo Veneziano 1353, previously attributed to the Venetian School, 1354
761. St John the Evangelist and St Anthony, right wing of a triptych, Paris, Musée du Louvre (Inv. no. M.I. 396?) (previously in Ajaccio, Musée Fesch No. M.F.A.D. 863. I. 11), Campana Collection (for the central panel of the ensemble see 759 and the left wing 760)
825 × 500 × 15–20 mm
Samples 271 A, B. Vertical grain. Extensive insect damage. One board. One split through the whole thickness and height of the panel. Two screwed-in cross-bars. Original frame in lime (sample 271B). Bare wood.
Stefano ‘Plebanus’ di S. Agnese, signed, dated 1381, previously attributed to Catarino Veneziano
762. The Coronation of the Virgin, Venice, Galleria dell’Accademia (No. 21. Inv. no. 16)
605 × 450 × 8 mm
Sample 625. Horizontal grain. Good condition. A recent white paint covers the surface. Reduced cradle.
Antonello da Messina, signed, dated 1475
763. Portrait of a Man (The Condottiero), Paris, Musée du Louvre (No. 134, p. 26. Inv. no. M.I. 693)
363 × 300 × 10 mm
Sample 53. Vertical grain. Insect damage at the base and top. One board. Surface of the wood is very smooth. Three recent uprights screwed to the cross-bars at the top and bottom of the frame support the panel. Bare wood.
Giovanni Bellini, probably before 1480
764. Christ Blessing after the Resurrection, Paris, Musée du Louvre (No. 1158B, p. 33. Inv. no. R.F. 2039)
584 × 435 × 15 mm approx.
Sample 55. Vertical grain. Apparent good condition. Two boards (?). Auxiliary panel in oak (visual examination). Cradle.
Giovanni Bellini, 15th century
765. Portrait of a Man, Paris, Musée du Louvre (No. 1158A, p. 32. Inv. no. R.F. 1344)
345 × 255 mm (thickness not measurable)
Sample 60. Horizontal grain. Very good condition. Two cross-grain cross-bars. A seal. Wood stained.
Giovanni Bellini, ca. 1490, previously attributed to Niccolò Rondinelli
766. The Virgin between St Peter and St Sebastian, Paris, Musée du Louvre (No. 1158, p. 109. Inv. no. M.I. 231)
827 × 615 × 20 mm
Sample 81. Vertical grain. Good condition. One board. Fine and evenly worked. Traces of saw marks on the whole surface. Wooden strips on the edges of the four sides of the panel. Bare wood. Panel not reinforced. Two seals.
Giovanni Bellini, 15th century
767. Fragment of an altarpiece with inscription, Venice, Galleria dell’Accademia (No. 87)
342 × 233 × 7 mm
Sample 628. Vertical grain. Good condition. One board (study of the construction of the panel was incomplete). One other fragment of the same set, representing the head of Christ, could not be studied.
Giovanni Bellini, 15th century
768. The Virgin and Child between St John the Baptist, St Catherine, St George, St Peter and a Donor, Paris, Musée du Louvre (No. 1158C, p. 33. Inv. no. R.F. 2097)
730 × 1210 × 12 mm
Sample 82. Horizontal grain. Two boards (?). Reduced cradle.
Old copy of Giovanni Bellini
769. Jesus Dead between the Virgin and St John the Evangelist, Venice, Galleria dell’Accademia (No. 71. Inv. no. 254)
555 × 760 × 15 mm
Samples 619 A, B. Horizontal grain. Some insect holes. Two unequal boards. Two bars attached to the outer edges of the lateral sides of the panel. Two double dovetail keys, one on each of the outer edges of the join, hold the two boards together.
Jacopo Bellini, 15th century
770. The Virgin and Child, Florence, Galleria degli Uffizi (Inv. no. 3344)
730 × 500 mm
Sample 940. Study of the construction of the panel was not made.
Jacopo Bellini, 15th century
771. The Virgin and Child Adored by Lionel dEste, Paris, Musée du Louvre (No. 1279, p. 33. Inv. no. R.F. 41)
650 × 414 × 15 mm
Visual examination. Vertical grain. Very good condition. Two narrow iron cross-bars inset across the width of the panel. Wood surface is rough.
Bonifazio Veronese (de’ Pitati), end of the 15th century
772. The Holy Conversation, Paris, Musée du Louvre (No. 1171, p. 36. Inv. no. 119; M.R. 367)
1550 × 2050 mm (thickness not measurable)
Sample 1539. The location of the painting in the museum prevented examination of the support. The sample of wood was taken from the face of the panel in the middle of the left border.
Pupil of Vincenzo Catena, end of the 15th century, previously attributed to Marco d’Oggiono
773. The Virgin and Child, Venice, Galleria dell’Accademia (No. 101. Inv. no. 251)
554 × 750 × 18 mm
Sample 616. Horizontal grain. Some insect holes. One board. Two later cross-bars attached to the top and base of the panel. Bare wood.
Giovanni Battista Cima da Conegliano, end of the 15th century
774. The Virgin and Child with St John the Baptist and Mary Magdalene, Paris, Musée du Louvre (No. 1259A, p. 52. Inv. no. M.R. 253)
1710 × 1098 × 5 mm
Sample 87A. Horizontal grain. Extensive insect damage; numerous open insect channels. Five boards. Light cradle.
Carlo Crivelli, signed, dated 1477
775. St James of the Marches with Two Donors, Paris, Musée du Louvre (No. 1268, p. 54. Inv. no. M.I. 290)
1098 × 630 × 15 mm
Sample 80. Vertical grain. Good condition. One board (?), split along its whole length. The cradle is made of cross-bars of semicircular cross-section and reinforcing members of rectangular cross-section. A white ground covers the surface.
Venetian School, ca. 1450, between Jacopo Bellini and Antonio Vivarini
776–787. Twelve Scenes of the Life of Christ and the Virgin, Paris, Musée du Louvre (Nos. 1280–1283, p. 152. Inv. nos. M.I. 455–466), Campana Collection
776. Jesus among the Doctors (No. 1282, p. 152. Inv. no. M.I. 461)
590 × 290 × 9 mm
Sample 325. Vertical grain. Some insect holes. One board. Inset reinforcing frame. Bare wood.
777. The Flight into Egypt (No. 1281, p. 152. Inv. no. M.I. 459)
590 × 290 × 9 mm
Sample 318. Vertical grain. Some insect holes. One board. Inset reinforcing frame. Bare wood.
778. The Circumcision (No. 1280, p. 152. Inv. no. M.I. 456)
590 × 290 × 9 mm
Sample 319. Vertical grain. Some insect holes. One board. Inset reinforcing frame. Bare wood.
779. The Presentation of Jesus in the Temple (No. 1280, p. 152. Inv. no. M.I. 466)
588 × 289 × 9 mm
Sample 663. Vertical grain. Numerous open insect channels. One board. Inset reinforcing frame. Traces of a ground at the top of the panel.
780. The Nativity (No. 1280, p. 152. Inv. no. M.I. 465)
585 × 294 × 12 mm
Sample 676. Vertical grain. Some insect holes on the face of the panel. One board. Three splits. Inset reinforcing frame with one central cross-bar. Bare wood.
781. The Visitation (No. 1280, p. 152. Inv. no. M.I. 458)
587 × 290 × 14 mm
Sample 306. Vertical grain. Insect damage. One board. Roughly cut with an adze, particularly visible at the top of the panel. Inset reinforcing frame with one central cross-bar. A split along the whole height of the panel on the left side.
782. The Marriage of the Virgin (No. 1280, p. 152. Inv. no. M.I. 455)
590 × 290 × 9 mm
Sample 322. Vertical grain. Some insect holes. One board. Inset reinforcing frame. Bare wood.
783. St Joseph and the High Priest (No. 1283, p. 152. Inv. no. M.I. 464)
590 × 290 × 9 mm
Sample 320. Vertical grain. Some insect holes. One board. Inset reinforcing frame. Bare wood.
784. The Virgin Ascending the Steps of the Temple (No. 1280, p. 152. Inv. no. M.I. 457)
590 × 290 × 9 mm
Sample 323. Vertical grain. Some insect holes. One board. Inset reinforcing frame. Bare wood.
785. The Presentation in the Temple (No. 1281, p. 152. Inv. no. M.I. 460)
590 × 290 × 9 mm
Sample 324. Vertical grain. Some insect holes. One board. Inset reinforcing frame. Bare wood.
786. The Birth of the Virgin (No. 1281, p. 152. Inv. no. M.I. 463)
590 × 290 × 9 mm
Sample 321. Vertical grain. Some insect holes. One board. Inset reinforcing frame. Bare wood.
787. The Angel Appears to St Joachim (No. 1280, p. 152. Inv. no. M.I. 462)
590 × 284 × 10 mm
Sample 675. Vertical grain. Extensive insect damage. One board. Roughly cut. The top corners are bevelled. Traces of two inset cross-bars in the centre and top of the panel. A cross-bar at the base and four uprights form a reinforcing frame. Bare wood.
Venetian School, second half of the 15th century
788–791. Suite of four panels representing: St James, St Jerome, St Augustus and St Francis, Venice, Galleria dell’Accademia (Nos. 31, 32, 34, 35. Inv. nos. 568, 569, 571, 572)
788. St James (No. 34. Inv. no. 568)
690 × 545 × 8 mm
Sample 622. Vertical grain. Numerous open insect channels. Two upright bars with segments of cross-grain cross-bars. Bare wood.
789. St Jerome (No. 31. Inv. no. 571)
625 × 885 × 18 mm
Sample 1507. Vertical grain. Numerous open insect channels. One board. Two attached cross-grain cross-bars 160 mm at the base and top of the panel.
790. St Augustus (No. 32. Inv. no. 569)
625 × 885 × 20 mm
Sample 1508. Vertical grain. Numerous open insect channels. One board. Two attached cross-bars.
791. St Francis (No. 35. Inv. no. 572)
630 × 879 × 17 mm
Sample 1509. Vertical grain. Numerous open insect channels. One board. Two attached cross-bars.
Venetian School, end of the 15th century
792. Portrait of a Young Man Wearing a Black Cap, Paris, Musée du Louvre (No. 1669, p. 152. Inv. no. M.I. 576)
290 × 200 × 4 mm
Sample 226. Horizontal grain. Some insect holes; open channels on the edges of the top and bottom of the panel. One board. Reinforcing frame with a central cross-grain cross-bar, glued to the panel (the right-hand side upright is missing). Bare wood.
Bartolommeo Montagna, signed, end of the 15th century
793. Ecce Homo, Paris, Musée du Louvre (No. 1393, p. 87. Inv. no. M.I. 567)
550 × 434 × 6 mm
Sample 91. Vertical grain. Numerous insect holes. Reinforcing frame of three cross-bars.
Bartolommeo Montagna, beginning of the 16th century
794. The Virgin and Child, fragment of a polyptych, Lyon, Musée des Beaux-Arts (Inv. no. B. 1143) (part of the same ensemble as 795)
845 × 730 × 25mm
Sample 480. Vertical grain. Good condition.
Bartolommeo Montagna, signed, ca. 1502–1507
795. Predella: Three Angel Musicians, Paris, Musée du Louvre (No. 1394, p. 87. Inv. no. R.F. 197) (part of the same ensemble as 794)
458 (without wooden strip) × 704 × 24 mm
Sample 673. Vertical grain. Good condition. Some insect holes. One board. Wooden strip on the edge of the top of the panel. Roughly cut. Bare wood. Panel not reinforced.
Bartolommeo Vivarini, signed, dated 1459
796. St John of Capistrano, Paris, Musée du Louvre (No. 1607, p. 142. Inv. no. M.I. 488)
2000 × 985 × 15 mm
Sample 78. Vertical grain. Good condition; some insect holes. Two boards. Roughly cut with an adze. At the top of the panel are traces of an inset cross-bar. Three attached cross-grain cross-bars. Numerous knots and splits particularly on the left board.
Workshop of Bartolommeo Vivarini, 15th century
797. Left wing of a polyptych of The Virgin on a Throne with the Infant Jesus and Saints: St Thomas and St Vincent, Venice, Galleria dell’Accademia (No. 27. Inv. no. 231)
460 × 315 × 25 mm
Sample 624. Vertical grain. Panel not reinforced. Bare wood. (The central panel and the right wing were not studied. The appearance and the construction of the three panels are very similar.)
Antonio Vivarini, ca. 1484
798. St Louis, Bishop of Toulouse, Paris, Musée du Louvre (No. 1640, p. 141. Inv. no. 872)
460 × 380 (with wooden strip) × 7 mm
Sample 300. Horizontal grain. Extensive insect damage; open insect channels. One board (?) Wooden strip on the edges of the four sides. Cradle.
Donati Alvise, signed, 16th century
799. The Virgin and Child, Lyon, Musée des Beaux-Arts (Inv. no. B 934)
1210 × 600 × 20 mm
Sample 498. Vertical grain. A recent ground covers the surface.
Bartolommeo Veneto, signed, dated 1506
800. The Circumcision, Paris, Musée du Louvre (No. 1680, p. 31. Inv. no. R.F. 2485)
860 × 1420 × 20 mm
Sample 79. Horizontal grain. Two boards (?). Traces of cross-grain cross-bars on the outer edges of the panel and of an original cradle since lost. Smaller later cradle.
Giovanni Buonconsiglio (Il Marescalco), signed, beginning of the 16th century
801. The Virgin, St John the Baptist and St Catherine, Venice, Galleria dell’Accademia (No. 758. Inv. no. 780)
810 × 1110 × 29–40 mm
Sample 629. Horizontal grain. Some insect holes. Two boards. Three double dovetail keys across the join. Two cross-grain uprights. Bare wood.
Domenico Mancini, first quarter of the 16th century (museum attribution: Sebastiano del Piombo)
802. Holy Conversation with Joseph, St Catherine, St Sebastian and a Donor, Paris, Musée du Louvre (No. 1135, p. 77. Inv. no. 70; M.R. 249)
945 × 1355 × 14 mm
Sample 3. Horizontal grain. Extensive insect damage. The panel cannot be a single board. However, the join could not be distinguished, suggesting that the boards are assembled with the help of dowels, as was frequently done in Italy. Traces of dowels on the edges of the sides of the support. Cradled panel.
Giovanni Mansueti, beginning of the 16th century
803. The Virgin with St Peter, a Donor and Two Saints, Venice, Galleria dell’Accademia (No. 75. Inv. no. 258)
675 × 1175 × 10 mm
Sample 621. Horizontal grain. Open insect channels. Cradle composed of three double cross-grain uprights intersecting with segments of cross-bars.
Jacopo Palma Vecchio, beginning of the 16th century (museum attribution: Venetian School, 16th century)
804. Portrait of a Man, Paris, Musée du Louvre (No. 1670A, p. 153. Inv. no. R.F. 781)
290 × 272 × 7 mm
Sample 598. Horizontal grain. Some insect holes. On the reverse, outline of a head on a black background. Inscription ‘194’. Two seals.
Workshop of Jacopo Palma Vecchio, 1510 (museum attribution: Venetian School, 16th century)
805. The Virgin and Child Adored by St John the Baptist, St Ursula, St Sebastian and (?) St Anthony, Paris, Musée du Louvre (No. 1674D, p. 153. Inv. no. R.F. 1270)
600 × 720 × 12 mm
Sample 122. Horizontal grain. Insect damage; open insect channels in particular on the edge of the top of the panel. The reinforcing frame has a central cross-grain upright. Some rectangular pieces of wood are inset on the reverse thus creating a chequerboard pattern with the inner struts of the reinforcing frame.
Polidoro Lanzani (Polidoro Veneziano), first half of the 16th century (museum attribution: Venetian School, 16th century)
806. Salome Receives the Head of St John the Baptist, Paris, Musée du Louvre (No. 1674A, p. 152. Inv. no. 817A; M.R. 250)
777 × 643 × 10 mm
Sample 123. Vertical grain. Good condition. Two boards (?). A brown paint and thick ground layer cover the surface. Cradled panel.
Francesco Rizzo da Santa Croce, beginning of the 16th century
807. The Virgin and Child with Saints and Prophets, Venice, Galleria dell’Accademia (No. 159)
716 × 1035 × 30 mm
Sample 620. Horizontal grain. Insect damage. Two unequal boards. Three double dovetail joints between the board. Bare wood. Panel not reinforced.
Attributed to the workshop of Francesco di Simone da Santa Croce, 16th century, previously attributed to the Venetian School, 16th century
808. St James Apostle, Venice, Galleria dell’Accademia (No. 601)
490 × 360 × 10 mm (edges)
Sample 617. Vertical grain. Open insect channels. One board (?). Edges of the panel are bevelled at the top and base. Two cross-grain cross-bars. Segments of upright bars. Bare wood.
Girolamo Galizzi da Santa Croce, first half of the 16th century
809. Christ and the Samaritan, Venice, Galleria dell’Accademia (No. 162)
257 × 345 × 10 mm
Sample 626. Horizontal grain. Very good condition. One board. Traces of attached cross-bars, on the upper right part of the panel.
Girolamo Galizzi da Santa Croce, first half of the 16th century
810. The Head of Christ, Venice, Galleria dell’Accademia (No. 161)
420 × 314 × 15 mm
Sample 618. Vertical grain. Good condition. One board. Panel slightly warped. Bare wood.
Verceil
Il Sodoma (Giovanni Antonio Bazzi), end of the 15th century
811. Love and Chastity (?), tondo, Paris, Musée du Louvre (No. 1681, p. 32. Inv. no. R.F. 2106)
Diameter 624 mm; depth 30 mm
Sample 90. Diagonal grain. Good condition, very few insect holes. Two boards. Roughly cut with a gouge or pairing axe. Double dovetail dowels across the join. Bare wood. Panel not reinforced.
Defendente Ferrari, first quarter of the 16th century
812. St Jerome Penitent, Dijon, Musée des Beaux-Arts (Inv. no. D. 231)
1650 × 920 × 18 mm
Sample 458. Vertical grain. A little insect damage. Splits (?).Cradled panel.
Gaudenzio Ferrari, signed, dated 1543
813. St Paul in Meditation, Paris, Musée du Louvre (No. 1285, p. 57. Inv. no. 277)
2000 × 1476 (without wooden strip) × 28 mm
Sample 109. Vertical grain. Three boards. Wooden strips on the edges of the lateral sides of the panel. Two cross-bars attached. Four double dovetail joints between the boards. Brown paint covers the surface.
Verona
Veronese School, end of the 15th century
814. The Marriage of Thetis and Peleus, Paris, Musée du Louvre (Inv. no. 2596)
455 × 362 × 12 mm
Visual examination. Horizontal grain. Very good condition. One board. Reinforcing frame.
Giovanni di Paolo, 1447 (museum attribution: Veronese School, first half of the 15th century)
815. Wedding Casket with the Triumph of Venus, Paris, Musée du Louvre (No. 1697, p. 154. Inv. no. R.F. 2089)
520 × 520 × 15 mm approx. (dodecagonal shape)
Sample 42. Vertical grain. Numerous open insect channels. Two boards (?). Cradled panel.
Liberale da Verona, 15th century, previously attributed to Francesco di Giorgio Martini
816. The Rape of Helen, panel of a cassone, Le Havre, Musée des Beaux-Arts in store, No. 30 (Musées Nationaux. Coll. Campana) (paired with 817)
415 × 1100 × 23 mm (centre); 20–25 mm (sides)
Sample 269. Horizontal grain. Several insect holes. Two boards measuring 320 and 90 mm in width. Six knots. Two cross-grain cross-bars. A ground layer covers most of the surface leaving an 8 mm strip of bare wood at the top and bottom of the panel.
Liberale Da Verona, 15th century (museum attribution: Francesco di Giorgio Martini)
817. The Abduction of Europe, panel of a cassone, Paris, Musée du Louvre (No. 1640A, p. 60. Inv. no. M.I. 585) (paired with 816)
360 × 1190 × 22 mm
Sample 39. Horizontal grain. Numerous open insect channels. Three boards. Shaped with a plane. Many knots. Two inset cross-bars. Bare wood.
Pisanello (Antonio Pisano), 15th century
818. Portrait of a Princess of the House of Este, Paris, Musée du Louvre (No. 1422A, p. 98. Inv. no. R.F. 766)
417 × 298 × 13 mm
Sample 44. Vertical grain. Very good condition. One board. Wood lightly stained. Panel not reinforced.
Attributed to Pisanello, second half of the 15th century
819–821. History of St Benedict, four panels, Florence, Galleria degli Uffizi (Nos. 9403–9405) (a panel in Milan, St Benedict in Penitence (Museo Poldi Pezzoli) was not studied)
819. Miracle of the Broken Platter
1080 × 625 × 35 mm (arched panel)
Samples 648; 1504. Vertical grain. Good condition. Two boards (?). Three fixed cross-bars, across the grain; a fixed upright in the direction of the grain. Traces of a drawing on the reverse.
820. St Benedict Exorcising a Monk
1100 × 660 mm (top is rectangular)
Sample 1505. Study of the construction of the panel was not made.
821. The Miracle of the Poisoned Cup
1080 × 635 mm (arched panel)
Sample 1506. Study of the construction of the panel was not made.
Giovanni Francesco Caroto, beginning of the 16th century
822. The Virgin and Child, Paris, Musée du Louvre (No. 1318, p. 45. Inv. no. R.F. 183)
710 × 480 × 18 mm
Sample 307. Vertical grain. Insect holes. Cardboard covers the surface.
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