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Scots pine
German School
Bavaria
Attributed to the Bavarian School, 15th century (museum attribution: Bartolomé Bermejo, end of the 15th century)
833. St Anthony Abbot or St Augustus, Dijon, Musée des Beaux-Arts (Inv. no. 2181)
610 × 520 × 25 mm
Sample 461. Vertical grain. Insect damage. A thick ground layer covers the surface.
Mair von Landshut, end of the 15th century
834. St George and the Dragon, Munich, Alte Pinakothek (No. 9344)
445 × 380 × 5 mm
Sample 490. Vertical grain. Good condition; some insect holes. One board (?). Cradled panel.
Cologne
Cologne School, ca. 1340
835–838. Scenes from the Life of Christ, four panels. Paris, Musée du Louvre (No. 2736A, p. 70. Inv. nos. R.F. 1733–1736)
835. The Annunciation
198 × 130 mm (thickness not measurable)
Sample 253. Horizontal grain. Auxiliary panel (beech) (sample 252). Held in the rebate of the original frame.
836. The Nativity
198 × 133 mm (thickness not measurable)
Sample 253B. This panel is similar to 835.
837. The Adoration of the Magi
198 × 135 mm (thickness not measurable)
Sample 254. This panel is similar to 836.
838. The Presentation in the Temple
198 × 133 mm (thickness not measurable)
Sample 255. This panel is similar to 837.
Middle Rhine
Attributed to Mathis Gothardt-Neithardt, called Grünewald, ca. 1475
839. The Nativity, fragment, Strasbourg, Musée des Beaux-Arts (No. 13C. Inv. no. 1743)
1018 × 666 × 15 mm
Sample 1391. Vertical grain. Good condition; some insect damage. Four boards. Assembled very tightly, probably with dowels. Image is painted on both sides. On the reverse: The Annunciation.
Tyrol
Michal Pacher, ca. 1483
840–845. Altarpiece of the Church Fathers, six panels, Munich, Alte Pinakothek (Nos. 2597–2600), from the Neustift monastery near Brixen
840. Central left panel: St Augustus (No. 2597)
2160 × 950 × 23 mm
Sample 515A. Vertical grain. Extensive insect damage. Two or three boards. One cross-bar loosely attached. A black wood stain covers the surface.
841. Central right panel: St Gregory (No. 2598)
2160 × 1000 × 23 mm
Sample 515B. This panel is similar to 840.
842. Left wing, upper register: St Wolfgang Heals the Sick (No. 2600b)
1050 × 925 × 5 mm
Sample 513A. Vertical grain. Good condition. Two boards. Cradled panel. A red wood stain covers the surface. Probably painted on marouflaged cloth. Panel split to show the other side: St Jerome (No. 2600).
843. Left wing, lower register: The Refutation of St Wolfgang (No. 2600a)
1030 × 925 × 5 mm
Sample 513B. This panel is similar to 842. The other side: St Jerome (No. 2600)
844. Right wing, upper register: St Wolfgang Prays for a Miracle (No. 2599b)
1035 × 915 × 5 mm
Sample 512B. Vertical grain. Good condition. Two boards. Panel cradled. A red layer covers the surface. Probably on marouflaged cloth. Panel split to show the other side: St Ambrose (No. 2599).
845. Right wing, lower register: The Devil Holds the Missal of St Wolfgang (No. 2599a)
1040 × 920 × 5 mm
Sample 512A. This panel is similar to 844. Panel split to show the other side: St Ambrose (No. 2599).
Michael Pacher, 15th century
846. The Coronation of the Virgin, Munich, Alte Pinakothek (No. 5307)
1442 × 917 × 25 mm
Sample 514. Vertical grain. Good condition. Some insect damage. One board. Fixture for a cross-grain cross-bar in the centre of the panel. Decorative painting on the reverse of green leaves on a grey background.
Marx Reichlich, ca. 1506
847–852. Altarpiece of St James and St Stephen, six panels, Munich, Alte Pinakothek (Nos. 8571, 2595–8639, 2591, 2594–8640. 2590, [2589]), from Neustift , near Brixen
847. Central left panel: St James (No. 8571)
1980 × 836 × 20 mm
Sample 508A. Vertical grain. Good condition. One board. Emplacement of a cross-grain cross-bar. A layer of filasse, ground and a dark wood stain cover the surface.
848. Central right panel: St Stephen (No. 8571)
1980 × 834 × 20 mm
Sample 508B. Vertical grain. Good condition. Two boards. Construction is similar to 847. Originally formed from a single panel sawn down the middle.
849. Right wing, lower register: The Stoning of St Stephen (No. 2595)
1245 × 795 mm (thickness not measurable)
Sample 506. Vertical grain. Very few insect holes. One board. Pieces of wood across the splits in the panel. Surface stained red. Panel originally painted on both sides (now split in two). The original reverse of the panel shows Christ Crowned with Thorns.
850. Right wing, upper register: The Expulsion of St Stephen (No. 2591)
1055 × 795 mm (thickness not measurable – arched panel)
Sample 507. Vertical grain. Some insect holes. One board. Pieces of wood over the splits in the panel.
851. Left wing, lower register: Miracle on the Body of St James (No. 2594)
1220 × 783 × 9 mm
Visual examination. Panel originally painted on both sides (now split in two). The original reverse panel shows The Flagellation of Christ (No. 8640) (this panel is similar to 850).
852. Left wing, upper register: The Beheading of St James (No. 2590)
1220 × 783 × 9 mm (arched panel)
Sample 509. Vertical grain. Good condition. Two boards. Wooden strip on the edge of the right side (?).
Marx Reichlich, ca. 1520
853–856. Scenes from the Life of the Virgin, four panels, Munich, Alte Pinakothek (Nos. 2587, 5302, 2588, 1459), from the Augustine Abbey of Neustift , near Brixen
853. Outer left wing, upper register: The Birth of the Virgin (No. 2587)
854 × 795 × 14 mm
Sample 511B. Vertical grain. Good condition. Traces of preparation, grey paint and gold, on the reverse. Pieces of wood over the join of the boards.
854. Outer left wing, lower register: The Marriage of the Virgin (No. 5302)
1040 × 818 × 14 mm
Sample 511A. This panel is similar to 853.
855. Outer right wing, upper register: The Presentation of the Virgin in the Temple (No. 2588)
852 × 795 × 11 mm
Sample 510B. This panel is similar to 854.
856. Outer right wing, lower register: The Visitation (No. 1459)
1006 × 817 × 14 mm
Sample 510 A. This panel is similar to 855.
Spanish School
Workshop of Alonso Berruguette, ca. 1480–1560
857. The Annunciation, Paris, Musée des Arts Décoratifs (Inv. no. D. 4343)
1290 × 738 × 3–7 mm
Sample 979. Vertical grain. Three sections present evidence of insect damage along the edges and in the centre of the panel. (Boards probably partially cut from sapwood.) Open insect exit tunnels. Two boards. Cradle has been thinned.
Spanish School, ca. 1400 (museum attribution: Provence School, 14th century)
858. Christ on the Cross between St John and the Virgin, Marseille, Musée Grobet
720 × 465 × 20–25 mm
Sample 391. Vertical grain. Three boards. Very crudely cut. A cross-grain cross-bar is attached at the top of the panel. Very crude construction. A very thick ground layer covers the surface.
Spanish School, 16th century (museum attribution: the Lombardo-Venetian School)
859. The Martyrdom of St Babylas, Bishop of Antioch, and his Three Little Disciples, Carpentras, Musée des Beaux-Arts
558 × 429 × 18 mm
Sample 583. Horizontal grain. Insect damage. Three boards. Two fragments of a recent cross-grain cross-bar at the top. Split. Wooden strip on the top edge. A layer of glued filasse covers the surface.
Attributed to the Spanish School, 16th century (museum attribution: the Northern Italian School, 16th century)
860. The Virgin and Child, Dijon, Musée des Beaux-Arts, Dubois Collection
590 × 470 × 15 mm
Sample 465. Vertical grain. Good condition. Panel not reinforced.
Aragon
Aragonese School, ca. 1450
861. The Coronation of the Virgin, Barcelona, Museu Nacional d’Art de Catalunya (No. 15852)
1205 × 688 × 24 mm
Samples 835 A, B. Vertical grain. Good condition of the support; cross-bars show extensive signs of insect damage. Four boards (?). Three cross-bars in Scots pine applied across the grain (sample 835). Two crossed braces. A layer of filasse and ground covers the front.
The Master of the Prelate Mur (sometimes identified with Jaime Romen), end of the 15th century (museum attribution: Spanish School, 15th century)
862. The Coronation of the Virgin, Paris, Musée des Arts Décoratifs (Inv. no. D. 11290)
1000 × 910 × 20–23 mm
Samples 964 A, B. Vertical grain. Good condition. Three boards. Assembled with flush-edge joints. Strips of filasse across the board joins. Several splits in the middle of the panel, running the entire height. Cross-bar in Scots pine attached to the centre of the secondary support (sample 964B). The cross-bar from the bottom is missing. Nail ends are bent, visible in the central cross-bar. A red layer of paint covers the surface.
Barcelona
The Master of Rusinol, second half of the 14th century
863. Scenes from the Life of the Virgin, panel of an altarpiece, Barcelona, Museu Nacional d’Art de Catalunya (No. 24076)
865 × 822 × 23 mm
Sample A. Horizontal grain. Four boards unequal in width. Cross-grain cross-bar. Strips of cloth along the joins of the boards on the front of the panel.
Jaume Huguet, ca. 1450
864. Triptych of St George, central panel, Barcelona, Museu Nacional d’Art de Catalunya (No. 15868)
990 × 550 mm (thickness not measurable)
Sample 827. Vertical grain. Very good condition. Three boards. Panel painted on both sides, held in the rebate of the frame. On the reverse, decorative motifs on a red background; in the centre a stag deer painted in black, at the top yellow and black marble painted trompe l’oeil.
Cardona
The Master of Cardona Pentecost, ca. 1400
865. The Crucifixion, upper panel of an altarpiece, Barcelona, Museu Nacional d’Art de Catalunya (No. 15903)
1090 mm (left side); 1130 mm (right side) × 1040 × 12 mm
Sample 915A. Vertical grain. Roughly cut. Painted on marouflage canvas. (Examination incomplete, reverse inaccessible.)
Castile
Pedro Diaz d’Oviedo, 15th century
866. St Ildefonsus Receiving the Chasuble, Paris, Musée du Louvre (No. 1746, p. 158. Inv. no. R.F. 1537)
2380 × 1700 × 15 mm
Sample 7. Vertical grain. Insect damaged in places. Four or five boards (?). 44 mm wooden strip on the right edge and 20 mm strip on the left edge. Panel cradled.
Castilian School, second half of the 15th century
867. The Adoration of the Magi, panel of an altarpiece, Barcelona, Museu Nacional d’Art de Catalunya (No. 15870)
955 × 743 × 9 mm
Sample 857. Vertical grain. Very poor condition. Four boards. The wide cradle prevented study of the construction of the panel. The front of the panel partly covered with cloth.
Castilian, Avila or Palencia School, ca. 1460
868. Three Saints, Barcelona, Museu Nacional d’Art de Catalunya (No. 4510)
1435 × 982 × 28–32 mm
Samples 843 A–C. Vertical grain. Very good condition. Four unequal boards. Ground layer over the joins of the boards. Three cross-bars in Scots pine (sample 843B), 9–15 mm in width, applied across the grain. Evenly cut, probably with a saw. Elements carved in maritime pine on the face (sample 843C).
Catalonia
Catalan School, Cerdagne (?), 12th century
869. Christ and the Twelve Apostles, Barcelona, Museu Nacional d’Art de Catalunya (15803)
1020 × 1510 mm (with frame – thickness not measurable)
Sample 704. Horizontal grain. Good condition. A few insect holes. Four boards. Assembled with flush-edge joints. Panel held in the rebate of the original frame. Two cross-bars attached across the grain. Bare wood.
Catalan School, ca. 1200
870. The Pantocrator and Four Saints, altar frontal, Barcelona, Museu Nacional d’Art de Catalunya (No. 15882), from Planés (vallée de Ribes?)
765 × 1020 mm (without frame)
Sample 723. Vertical grain. A few insect holes. Six unequal boards. Roughly cut. Assembled with flush-edge joints. Panel held in the rebate of the original frame. Corners of the frame assembled with mortise and tenon joints. Bare wood. Panel not reinforced. Painted on a carved stucco background.
Catalan School, ca. 1200
871. Scenes of the Passion of Christ, fragment, Barcelona, Museu Nacional d’Art de Catalunya (No. 15833)
200 × 2300 × 30 mm
Sample 716. Horizontal grain. Insect damage (examination incomplete: reverse inaccessible).
Catalan School, end of the 13th century
872. Life of St Eugenia, Paris, Musée des Arts Décoratifs (Inv. no. P.E. 121)
984 × 1520 mm
Samples 959 A, B. Horizontal grain. Extensive insect damage. Four boards. Assembled with flush-edge joints. Flipots and strips of cloth over the join of the boards. Frame of Scots pine (sample 959B). Originally the panel was only held by the rebate of the frame. Members of the frame assembled with mortise and tenon joints. A red paint layer covers the surface. Three modern cross-bars bolted to the support.
Catalan School, 13th century
873. Scenes from the Life of St Andrew, Paris, Musée des Arts Décoratifs (Inv. no. P.E. 122)
700 × 690 × 18 mm (uneven thickness)
Sample 962. Vertical grain. Overall insect damage. Three boards. Very roughly cut, uneven thickness. Strips of cloth across joins of the boards. Split in the middle of the left board. A layer of red paint covers the surface. Panel not reinforced.
School of Pedro Espalargues, previously attributed to the Aragonese School, 15th century (museum attribution: Catalan School, 15th century)
874. The Virgin, St Thomas and Eight Saints, predella, Paris, Musée des Arts Décoratifs (Inv. no. P.E. 125)
645 × 2610 (with frame) × 40 mm approx. (without frame)
Sample 982. Horizontal grain. Apparently in good condition. Two boards. Some later cross-grain cross-bars reinforce the fragments of the original cross-grain cross-bars. A pink-coloured paint covers the surface. The frame is largely original.
Juan de Sevilla, end of the 15th century (museum attribution: Castilian School, 15th century)
875. The Coronation of the Virgin, Paris, Musée du Louvre (Inv. no. R.F. 3658)
109 × 121 × 5 mm (thickness at base)
Samples 649 A–C. Vertical grain. Some insect holes. Three boards. Splits. Roughly cut. Two cross-grain cross-bars attached at the edges.
Attributed to the Master of Canapost, ca. 1500
876. The Beheading of St Romain Kneeling and Praying, Marseille, Comte de Demandolx-Dedons Collection (paired with 877)
880 × 800 × 25 mm
Sample 406. Vertical grain. Insect damage. Three boards. Strips of cloth on the joins. Two roughly cut cross-grain cross-bars fixed with nails through the face of the panel. Bare wood. Painted on marouflaged cloth.
Attributed to the Master of Canapost, ca. 1500
877. The Miracle of St Romain, Marseille, Comte de Demandolx-Dedons Collection (paired with 876)
880 × 800 × 25 mm
Sample 407. Vertical grain. Insect damage. Three unequal boards. Two roughly cut cross-grain cross-bars fixed with nails through the face of the panel. Strip of cloth on the join on the right-hand side. Bare wood. Painted on marouflaged cloth.
Cerdanya
Catalan School, Cerdanya, 12th century
878. Christ, the Apostles and St Martin, altar frontal, Barcelona, Museu Nacional d’Art de Catalunya (No. 15802), from Hix (Pyrénées-Orientales)
900 × 1555 × 20 mm (thickness with frame)
Samples 706 A, B. Vertical grain. Support in very good condition; a few insect holes. The cross-bar is powdery. Five unequal boards. Assembled with flush-edge joints. Reinforcing frame in Scots pine (sample 706B). Bare wood.
Catalan School, Cerdanya, ca. 1200
879. St Cecilia and St Valerian, altar frontal, Barcelona, Museu Nacional d’Art de Catalunya (No. 15910), from the church at Bolvir (?)
1040 × 1780 × 20 mm
Sample 714. Horizontal grain. Doubtful condition. Three boards. Assembled with flush-edge joints. Panel held in the rebate of the original frame. Cross-grain cross-bars, attached with nails inserted from the front. Bare wood.
Catalan School, Cerdanya, ca. 1200
880. Scenes from the Life of the Virgin, altar frontal, Barcelona, Museu Nacional d’Art de Catalunya (No. 15788), from Mosoll
985 × 1650 × 25 mm
Sample 701. Horizontal grain. Extensive insect damage. Three boards. Roughly cut. Panel held in the rebate of the original frame. (Base of the support, modern.) A thin layer of black paint covers the surface. Painted on marouflage canvas.
Girona
Catalan School, Girona, 14th century
881. Decorative paint scheme, one panel, Barcelona, Museu Nacional d’Art de Catalunya (No. 24033), from a ceiling in the castle of Peratallada (?) (part of an ensemble, see 982)
120–150 × 270–280 × 10 mm
Sample 909G. Horizontal grain. One board. Bare wood. Panel not reinforced.
Huesca
Aragonese School, Huesca, 13th century
882. St John the Baptist Altarpiece, altar frontal, Barcelona, Museu Nacional d’Art de Catalunya (No. 35702), from Gesera (Huesca?)
1600 × 1740 × 38 mm
Samples 718 A–C. Horizontal grain. Extensive insect damage. Four boards. Four original cross-bars in Scots pine (sample 718D), applied across the grain and attached with nails inserted through from the front of the work. The applied frame is in Scots pine (sample 718B) and attached with large nails and dowels inserted from the front. A ground layer covers the surface. Painted on parchment (sample 718C).
Aragonese School, Huesca, ca. 1310
883. St Ursula Altarpiece, Barcelona, Museu Nacional d’Art de Catalunya (No. 4377), from Casbas
1160 × 1722 × 20 mm approx.
Samples 850 A–D. Horizontal grain. Insect holes and some parts in fairly poor condition. Six boards. Assembled with flush-edge joints, filled with plaster. Four small cross-bars in Scots pine (sample 850C), applied across the grain and attached with nails inserted from the front. Frame is in Scots pine (sample 850D), assembled with mortise and tenon, and attached with nails – the nail heads form part of the ornamental decoration. A thick ground layer and a layer of parchment have been laid on the surface.
Aragonese School, Huesca, second half of the 14th century
884. St Philip and St James Altarpiece, Barcelona, Museu Nacional d’Art de Catalunya (No. 4526), from the cathedral of Huesca
1100 × 1975 (without frame) × 14 mm
Samples 800A; 910 A, B. Horizontal grain. Overall insect damage. Five boards. The frame in Scots pine (sample 910B) shows evidence of extensive insect damage. Painted on marouflage canvas. (Examination incomplete, reverse inaccessible.)
Juan de la Abadia, ca. 1490
885. St Catherine Altarpiece: The Crucifixion, fragment, Barcelona, Museu Nacional d’Art de Catalunya (No. 44422), from the church of Madeleine de Huesca
980 × 572 × 18 mm
Sample 841. Vertical grain. Fairly good condition. Four unequal boards. Wooden strips on the side edges. A coloured ground layer covers the surface. Panel not reinforced.
Lleida
Catalan School, Lleida, 12th century
886. St Quiricus and St Julietta, altar frontal, Barcelona, Museu Nacional d’Art de Catalunya (No. 15809), from the hermitage of Santa Julita near Durro (Lleida) (?)
985 × 129 × 23 mm
Sample 703. Horizontal grain. Good condition. Five boards unequal in width. Two cross-grain cross-bars attached with pegs through the face of the panel.
Catalan School, Lleida, 12th century
887. Nine Bishops, altar frontal, Barcelona, Museu Nacional d’Art de Catalunya (No. 15786), from the Tabernoles monastery (?)
970 × 2045 mm (without frame)
Samples 705 A, B. Horizontal grain. Good condition. Four boards. Panel held in the rebate of the original frame. Two cross-bars attached across the grain on the very end of the side edges. Recent secondary support. Bare wood.
Catalan School, Lleida, ca. 1200
888. The Pantocrator and the Twelve Apostles, altar frontal, Barcelona, Museu Nacional d’Art de Catalunya (No. 15808), from the surroundings of Seo de Urgel
1070 × 1460 × 60 mm (with frame)
Sample 702. Overall insect damage. Six boards. Roughly cut. Assembled with flush-edge joints. Panel held in the rebate of the original frame. Frame assembled with mortise and tenon joints. Fixing pegs inserted through the front of the painting.
Catalan School, Lleida, ca. 1200
889. The Virgin and Child with Eight Saints, altar frontal, Barcelona, Museu Nacional d’Art de Catalunya (No. 15834)
995 × 1450 × 22 mm
Sample 712. Horizontal grain. Very good condition. Five boards. Assembled with flush-edge joints. Cross-bars attached, across the grain, to the side edges of the boards. Panel held in the rebate of the original frame. Painted on a carved stucco ground.
Catalan School, Lleida, ca. 1200
890. St Paul with Four Angels, side panel of an altarpiece, Barcelona, Museu Nacional d’Art de Catalunya (No. 3906) (for the other side panel see 490)
800 × 793 × 20–23 mm
Sample 852. Horizontal grain. Good condition. Three boards. Assembled with flush-edge joints. Two cross-bars applied across the grain. Painted on marouflage canvas.
Catalan School, Lleida, ca. 1225
891. Christ Pantocrator and Apostles, altar frontal, Barcelona, Museu Nacional d’Art de Catalunya (No. 15889), from the School of Ginestarre de Cardós
1100 × 1620 mm (with frame – thickness not measurable)
Samples 903 A, B. Vertical grain. Five boards (?). Strips of cloth over the board joins and on the front side of the frame. Painted on a carved stucco ground. Frame in Scots pine (sample 903B).
Catalan School, Lleida, 13th century
892. Episodes from the Life of St Peter, altar frontal, Barcelona, Museu Nacional d’Art de Catalunya (No. 3912)
910 × 1573 × 33 mm
Samples 901 A, B. Horizontal grain (?). Good condition of the support, frame is insect damaged. Frame in Scots pine (sample 901B), attached with nails inserted through the front of the panel. Painted on marouflage canvas. (Examination incomplete, reverse inaccessible.)
Catalan School, LLeida, 13th century
893. Scenes from the Life of the Virgin, altar frontal, Barcelona, Museu Nacional d’Art de Catalunya (No. 35701), from the hermitage of Rigatell (Betesa, Ribagorza) (?)
1035 × 1203 mm (thickness not measurable)
Samples 900 A, B. Horizontal grain. Frame in fir (sample 900B), extensive insect damage. Corners of the frame assembled by simple mortise and tenon joints. The support is attached with nails inserted through the front. The nail heads form part of the ornamentation.
Catalan School, Lleida, ca. 1300
894–894A. Scenes from the Martyrdom of St Lucia, two panels, Barcelona, Museu Nacional d’Art de Catalunya (No. 35703), from Mur (Lleida)
894. Right panel
658 × 248 × 10 mm
Sample 904A. Vertical grain. A few insect holes. One board (study incomplete, reverse inaccessible).
894A. Left panel
678 × 243 × 10 mm
Sample 904B. Very similar characteristics, condition etc. as 894.
Attributed to Pedro Espalargues (Despallargues), last quarter of the 15th century
895. Male and Female Saints, fragment of a predella, Barcelona, Museu Nacional d’Art de Catalunya (No. 44358)
720 × 1032 mm (thickness not measurable)
Samples 834 A, B. Horizontal grain. A few insect holes. Two boards. Assembled with flush-edge joints. A layer of filasse applied to both the sides of the panel. Three original cross-grain cross-bars. Fixed with nails.
Palencia
The Master of Villalobos, second half of the 15th century
896. Four Angels, fragment of an altarpiece, Barcelona, Museu Nacional d’Art de Catalunya (No. 40244)
1595 × 565 × 22 mm
Samples 833 A, B. Vertical grain. Extensive insect damage. Two boards. Three crude cross-grain cross-bars attached. Traces of filasse on the reverse.
Soria
The Master of Osma, ca. 1490
897. St Agatha, Barcelona, Museu Nacional d’Art de Catalunya (No. 4513)
1350 × 930 × 18–23 mm
Samples 840 A–D. Vertical grain. Several insect holes. Four boards. Assembled with flush-edge joints, filled with plaster. Two large poplar cross-bars (sample 840D), attached across the grain, at the bottom and middle of the panel. Fixed with nails. A layer of filasse and a very thick ground, under a brown wood stain, covers the surface.
Tarragona
Catalan School, Tarragona, ca. 1325
898. Eucharistic subjects, altar frontal. Barcelona, Museu Nacional d’Art de Catalunya (No. 9920), from Vallbona de las Monjas (les Monges)
1080 × 2240 (with frame) × 25 mm
Samples 789 A, B. Horizontal grain. Engaged frame in Scots pine (sample 789B). Panel and frame are painted on two marouflage cloths of uneven thicknesses. A thin cloth glued directly to the board is covered with a much coarser cloth. (Examination incomplete, reverse inaccessible.)
Catalan School, Tarragona, ca. 1325
899–902. Polyptych: Scenes from the Life of Jesus, four panels (in the centre, a statue in poplar, sample 970B), Barcelona, Museu Nacional d’Art de Catalunya (Nos. 9781, 9782)
899. Outer right wing (No. 9781)
1360 × 285 × 5 mm (a half-arch)
Sample 792. Vertical grain. Some insect holes. One board. A wooden strip on the edge of the panel. Three cross-grain cross-bars fixed with nails. Red paint on marouflaged cloth covers the surface of the reverse.
900. Outer left wing (No. 9782)
1360 × 285 × 15 mm (a half-arch)
Sample 790A. This panel is similar to 899.
901. Inner right wing (No. 9782)
1360 × 285 × 15 mm (upper part is triangular)
Sample 793. Vertical grain. Some insect holes. Two boards. Large nails through the reverse to attach the sculpture to the face of the panel. Three cross-grain cross-bars attached with nails. Red paint on marouflaged cloth covers the surface of the reverse.
902. Inner left wing (No. 9782)
1420 × 425 × 15 mm (upper part is triangular)
Sample 791. Characteristics and condition etc. very similar to 901.
Toledo
Attributed to Francisco de Comontes, first half of the 16th century
903. St Martin, panel from an altarpiece, Barcelona, Museu Nacional d’Art de Catalunya (No. 24174)
1038 × 740 × 18 mm
Samples 906 A, B. Vertical grain. Very good condition. Two boards of unequal width. Two cross-bars across the grain in maritime pine (sample 906B), roughly cut, attached to the panel with nails. A cross-bar is missing from the centre. Filasse across the joins of the boards. Painted on a layer of filasse and ground applied over the whole surface.
Valencia
School of Jacomart Baço, ca. 1460
904. Profession of St Vincent Ferrer, Paris, Musée des Arts Décoratifs (Inv. no. P.E. 127)
625 × 555 × 25–27 mm
Sample 965. Horizontal grain. Good condition. Two boards. Assembled with flush-edge joints. Split in the lower board of the panel. Strips of cloth over the join. Two cross-bars attached, across the grain, of which the ends are bolted to the panel. A red layer of paint is applied on the surface.
Valencian School, attributed to Pedro Nicolau, beginning of the 15th century (museum attribution: Andalusian School, 15th century)
905. The Madonna with Angels, central panel of an altarpiece, Paris, Musée du Louvre (No. 1745, p. 168. Inv. no. R.F. 1579), from the Soria region (for the wings see 906 and 907)
1705 × 915 × 23 mm
Sample 6. Vertical grain. Very good condition. Three boards. Wooden strips on the top and bottom edges of the panel. Three cross-grain cross-bars attached with screws and two uprights in the direction of the grain also attached with screws. Bare wood.
Valencian School, 15th century (museum attribution: Andalusian School, 15th century)
906–907. The Madonna with Angels, two wings, Paris, Musée du Louvre (Inv. no. R.F. 1708), from the Soria region (for the central panel see 905)
906. St John the Baptist
1350 × 725 × 18 mm
Sample 172. Vertical grain. Good condition. Wide cradle, attached with screws, composed of cross-grain cross-bars in softwood (visual examination) and uprights in oak (visual examination).
907. A Bishop Saint (St Ambrose?)
1330 × 730 × 22 mm
Sample 171. This panel is similar to 906.
Valencian School, first quarter of the 15th century
908. Portrait of the King of Aragon, Barcelona, Museu Nacional d’Art de Catalunya (No. 9776) (belongs to the same ensemble as 909, 910, 911)
506 × 395 mm (thickness not measurable)
Sample 855. Horizontal grain. Insect damage at the base of the panel; some open insect channels. Two boards. Split braced with two double dovetail keys. Bare wood. Panel not reinforced.
Valencian School, first quarter of the 15th century
909. Portrait of the King of Aragon, Barcelona, Museu Nacional d’Art de Catalunya (No. 9777) (belongs to the same ensemble as 908, 910, 911)
505 × 395 mm (thickness not measurable)
Sample 856. Horizontal grain. Some insect damage at the base of the panel; some channels at the top. Split in the centre of the support, braced with two later double dovetail keys. Bare wood. Panel not reinforced.
Valencian School, first quarter of the 15th century
910. Portrait of the King of Aragon, Barcelona, Museu Nacional d’Art de Catalunya (No. 9774) (belongs to the same ensemble as 908, 909, 911)
505 × 400 mm (thickness not measurable)
Sample 853. Horizontal grain. One board. Bare wood. Panel not reinforced.
Valencian School, first quarter of the 15th century
911. Portrait of the King of Aragon, Barcelona, Museu Nacional d’Art de Catalunya (No. 9775) (belongs to the same ensemble as 908, 909, 910)
505 × 397 mm (thickness not measurable)
Sample 854. Horizontal grain. One board. Split braced with three later double dovetail keys. Bare wood. Panel not reinforced.
The Master of Perea, end of the 15th century (museum attribution: Valencian School, end of the 15th/beginning of the 16th century)
912. Maria Lactans, Paris, Musée des Arts Décoratifs (Inv. no. D. 10318)
1620 × 790 × 15 mm
Samples 980 A, B. Vertical grain. Apparently good condition. Two boards. Two cross-grain cross-bars in Scots pine (sample 980B). The panel originally supported with three cross-bars – the top cross-bar has been lost. Fixings for two cross-braces on the right of the panel. Cloth and partial ground on the reverse. A recent red paint covers the surface.
The Master of Játiva, second half of the 15th century
913–919. Altarpiece: Life of the Virgin and Christ, seven panels, Barcelona, Museu Nacional d’Art de Catalunya (Nos. 24121–24127)
913. The Dormition of the Virgin (No. 24121)
1385 × 963 × 10–15 mm
Sample 860. Vertical grain. Very good condition. Four boards. Cloth and filasse across the joins. Four cross-bars across the grain and two crossed braces into which the two cross-bars have been inserted.
914. The Annunciation (No. 24122)
1395 × 990 × 10–15 mm
Sample 859. Vertical grain. Very good condition. Three boards. Three cross-bars, one of which is at the very edge (the upper cross-bar is missing), two crossed braces, not centred but slightly towards the right-hand side. Bare wood.
915. The Adoration of the Shepherds (No. 24123)
1250 × 1075 × 10–15 mm approx.
Sample 863. Vertical grain. Very good condition. Three boards. Assembled with flush-edge joints, filled with plaster. A cross-grain cross-bar at the bottom of the panel; a section from a cross-bar to the centre of the left side and two crossed braces. Braces and cross-bars assembled with mitre joints.
916. The Adoration of the Magi (No. 24124)
1245 × 1025 × 10–15 mm approx.
Sample 858. Vertical grain. Very good condition. Three boards. Three cross-grain cross-bars and two crossed braces.
917. The Resurrection of Christ (No. 24125)
1385 × 963 × 10–15 mm approx.
Sample 861. Vertical grain. Very good condition. Three boards. Assembled with flush-edge joints sealed with plaster. One cross-grain cross-bar at the bottom of the panel; a section from a cross-bar, to the centre of the left side, and two crossed braces.
918. The Ascension (No. 24126)
1240 × 1040 × 10–15 mm approx.
Sample 862. Vertical grain. Very good condition. Three boards. Panel similar to 917.
919. The Pentecost (No. 24127)
1250 × 1030 × 10–15 mm approx.
Sample 864. Vertical grain. Very good condition. Three boards. Assembled with flush-edge joints sealed with plaster. Three cross-grain cross-bars and two crossed braces.
Andrés Marzal de Sas, ca. 1400
920. The Death of St Vincent, Barcelona, Museu Nacional d’Art de Catalunya (No. 15850)
795 × 755 × 20 mm
Sample 916A. Vertical grain. Painting on marouflaged cloth (examination incomplete, reverse inaccessible).
Attributed to Andrés Marzal de Sas, first half of the 15th century (museum attribution: Valencian School, 15th century)
921. The Martyrdom of St Lawrence, Paris, Musée du Louvre (Inv. no. R.F. 3659)
760 × 750 × 30 mm
Sample 170. Vertical grain. Two roughly cut cross-bars applied across the grain. Painting on marouflaged cloth.
Studio of Nicolau and Marzal de Sas, ca. 1420 (museum attribution: Valencian School, beginning of the 15th century)
921A. Altarpiece: St Giles, Christ Triumphs over Satan and the Mission of the Apostles, New York, Metropolitan Museum of Art (Nos. 76.10)
1457 × 105 × 42 mm (with frame)
Sample 1548. Vertical grain. Good condition. A layer of wax covers the surface, hindering study of the construction of the support. Reinforcement with a cross and three cross-grain cross-bars. Frame attached to the face. Elements of the support fixed with nails through the face. Two splits on the left side.
Rodrigo de Osona the Younger, last quarter of the 15th century
922. The Virgin and Child, fragment from an altarpiece, Barcelona, Museu Nacional d’Art de Catalunya (No. 44357), from Coltalba monastery (?)
1410 × 765 × 18 mm (upper corners cut sideways)
Sample 837. Vertical grain. Very good condition. Four unequal boards. Filasse applied in large strips. Three cross-grain cross-bars: one at the top, the second at the bottom and the third in the lower half of the panel. Two crossed braces which intersect towards the top in line with the panel.
Juan Rexach, ca. 1460
923–924. The Adoration of the Magi Altarpiece, main panel and predella, Barcelona, Museu Nacional d’Art de Catalunya (No. 50621), from the convent of Agustinas Hermanas de Mora de Rubielos (Teruel)
923. Main panel
3370 × 3900 × 250 mm (with frame)
Samples 839 A–F. Vertical grain. Good condition. Panel probably reinforced with a system of crossed braces and cross-bars across the grain. (Examination incomplete, reverse inaccessible.)
924. Predella
830 × 2890 × 145 mm (with frame)
Samples 839 G, H. Horizontal grain. Four boards. Assembled with flush-edge joints. Reinforcing system made of cross-bars across the grain in Scots pine (sample 839H) and crossed braces. (Examination incomplete, reverse inaccessible.)
School of Juan Rexach, 15th century, previously attributed to the Provence School, end of the 15th century
925. Altarpiece: The Virgin Surrounded by Saints, Marseille, Comte de Demandolx-Dedons Collection
1580 × 1120 mm (thickness not measurable)
Sample 405. Vertical grain. Extensive insect damage. Five boards. Bands of cloth and filasse along the joins. Four cross-bars fixed with nails through the front of the panel. An overhang (dust guard) surrounds the painted wood on three sides on the front of the panel. Painting on marouflaged cloth. Carved elements on the front.
Valencian School, ca. 1520
926. Altarpiece of the Last Judgement, Barcelona, Museu Nacional d’Art de Catalunya (No. 9922)
2430 × 1330 × 17 mm (without frame)
Samples 908 A–C. Vertical grain. Seemingly poor condition. Three boards (study incomplete, reverse inaccessible).
French School
Provence
Provence School, ca. 1480
927–928. Altarpiece of the Passion, triptych, Aix-en-Provence, cathedral of Saint-Sauveur. Four boards: The Kiss of Judas with the Story of Malchus; Christ Crowned with Thorns; The Descent from the Cross; The Resurrection. Two wings: St Maximin and St Mitre. Total dimensions: 3400 × 4210 mm (thickness not measurable). The upper registers of the altarpiece were out of reach and were therefore not examined. The wings, probably a more recent addition, were not examined.
927. Lower left panel: The Arrest of Christ; The Resurrection
Sample 400A. Horizontal grain. (Examination incomplete, reverse inaccessible.)
928. Lower right panel: The Crowning with Thorns; The Entombment
Sample 400 B. Examination incomplete, reverse inaccessible.
Eastern Provence
Attributed to Jacques Durandi, ca. 1450
929–930. Altarpiece of St Michael, central panel and predella, Nice, Musée Masséna, from the parish church of Luceram (Alpes-Maritimes)
929. Central panel
1800 × 1800 × 20 mm
Sample 470A. Vertical grain. Apparent good condition. Five boards. Three original cross-bars attached from the front of the panel.
930. Predella
400 × 1800 × 20mm
Sample 470B. Horizontal grain. Extensive insect damage. One board. Bare wood. Panel not reinforced.
Rhône
School of Rhône, ca. 1480 (museum attribution: French School, 15th century)
931. The Coronation of the Virgin, Lyon, Musée des Beaux-Arts (Inv. no. A. 2938), may come from Burgundy (paired with 932)
1395 × 760 × 20 mm
Samples 484; 1497. Vertical grain. Several insect holes. Three boards. Three cross-bars attached.
932. Death of the Virgin, Lyon, Musée des Beaux-Arts (Inv. no. A. 2939), may come from Burgundy (paired with 931)
1400 × 770 × 30 mm
Samples 485 (Lyon); 1495; 1496. Vertical grain. Insect damaged. A very coarse canvas, probably old, on top of which a more recent tarred paper has been laid.
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