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Maritime pine
Spanish School, around the middle of the 15th century (?), previously attributed to the Avignon School, 15th century
823. Dream of a Pope, Marseille, Comte de Demandolx-Dedons Collection
520 × 510 × 20 mm
Sample 408. Vertical grain. Overall insect damage. Three boards. Two rough cross-bars. Fixing nails inserted from the front of the panel. Strips of cloth over the joins of the boards. Work painted on marouflage canvas.
Aragon
Aragonese School, ca. 1320
824. Scenes from the Passion of Christ, altar frontal, Barcelona, Museu Nacional d’Art de Catalunya (No. 15819)
910 × 1910 × 15 mm
Sample 905. Horizontal grain. Fairly poor condition. Three boards. Cloth on the front, probably only located over the joins of the boards. (Examination incomplete, reverse inaccessible.)
Aragonese School, ca. 1450
825. St Martin, Barcelona, Museu Nacional d’Art de Catalunya (No. 4352), from Riglos
1530 × 1055 × 20 mm
Sample 917. Vertical grain. Good condition. Three boards (examination incomplete, reverse inaccessible). Work painted on marouflage canvas.
Avila
The Master of Riofrió, end of the 15th century, first third of the 16th century (museum attribution: Aragonese School or Valencia (?), 14th century)
826–832. Altarpiece, seven panels, Paris, Musée de Cluny (No. 1687. Inv. nos. C.L. 94-25 A–G)
826. The Mass of St Gregory (Inv. no. C.L. 94-25A)
1670 × 920 × 20 mm
Sample 366. Vertical grain. Very good condition. Three boards. A split runs the entire length, in the middle of the panel. Three cross-bars applied, 100–120 mm thick, very roughly cut. They do not reach the edges of the panel. Nails inserted through from the front; the tips have been cut. Strips of cloth and ground over the joins. Thick ground under the paint layer.
827. The Resurrection from the Dead (Inv. no. C.L. 94-25B)
1660 × 908 × 20 mm
Sample 369. Several small splits. Upper cross-bar is extensively damaged by insects. Construction is similar to 826.
828. The Death of St Martin (Inv. no. C.L. 94-25C)
1650 × 900 × 16 mm
Sample 365. Larger strips of filasse. A 90 mm non-original board on the left edge. Construction is similar to 826.
829. St Martin Sharing his Cloak (Inv. no. C.L. 94-25D)
1650 × 910 × 17 mm
Sample 363. Construction is similar to 826.
830. Ordination of a Bishop (Inv. no. C.L. 94-25E)
1640 × 890 × 20mm
Sample 364. Cross-bar at the top extensively damaged by insects. Two small splits in the upper part of the panel. Construction is similar to 826.
831. The Crucifixion (Inv. no. C.L. 94-25F)
1650 × 970 × 22 mm
Sample 367. Work painted on cloth, marouflage. The ends of the nails inserted from the front are bent over on the reverse. Two splits. Construction is similar to 826.
832. The Assumption (Inv. no. C.L. 94-25G)
1640 × 910 × 18 mm
Sample 368. Three strips of filasse. Panel shows some evidence of insect damage while the upper cross-bars show extensive signs. Four boards (?). Construction is similar to 826.
School of the Master of St George, ca. 1430, previously attributed to Jean Malouel (museum attribution: Spanish School, first half of the 15th century)
832A. Jesus among the Doctors, New York, Metropolitan Museum of Art (No. 32.100.123), Friedsam Collection
1101 × 76 × 20 mm
Sample 1547. Vertical grain. Good condition. A layer of wax covers the surface, preventing examination. Two boards and one extension on the edge of the left side.
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