Wooden Supports

German School

East Bavaria

East Bavaria School, ca. 1470

315. Christ on the Mount of Olives, Munich, Alte Pinakothek (No. 8781)

1250 × 1945 × 4 mm

Sample 496. Vertical grain. Good condition. Panel cradled. A dark varnish covers the surface.

North Bavaria

The Master of the Altarpiece of the Auxiliary Saints, ca. 1430–1445

316. The Mystical Marriage of St Catherine, central panel of an altarpiece, Munich, Alte Pinakothek (No. 10123)

760 × 780 × 10 mm

Sample 492. Vertical grain. Good condition; some insect holes. Four boards. Roughly cut. Shoulders of 6 mm (base and edges) to 20 mm (top), on the four sides of the panel.

Barthel Beham, 1530

317. The Discovery of the True Cross, Munich, Alte Pinakothek (No. 684)

1005 × 1500 × 17 mm

Sample 560. Horizontal grain. Good condition. Six boards. Strips of filasse on the joins. Fixings for old cross-grain cross-bars. Panel not reinforced. Wood stained.

Munich

Bavarian School, Munich (?), ca. 1455–1460

318. Sts Achatius and Pantaleon, fragments of an altarpiece, Munich, Alte Pinakothek (No. 9457) (the other part of the same altarpiece is in the Musée de Dijon)

1200 × 600 mm

Sample 528. Panel reinforced with four cross-bars and segments of battens symmetrically placed on each side. Panel has an auxiliary support panel. A black paint on the visible parts of the surface.

The Munich Master of the Life of the Virgin, ca. 1450

319. A Prophet, Munich, Alte Pinakothek (No. 10395)

270 × 240 × 7 mm

Sample 482. Vertical grain. One board. Some insect holes. Surface of the wood is rough. Panel not reinforced.

The Master of the Polling Panels, dated 1444

320–322. Altarpiece of the Virgin, four panels, Munich, Alte Pinakothek (Nos. 1369, 6247, 4565), from the church in the monastery of Polling

320. Central right panel, upper register: Duke Tassilo of Bavaria Hunting; lower register: Tassilo Riding with a Bishop (No. 1369)
1840 mm (left); 2150 (right) × 860 (base) × 2 mm

Sample 529. Vertical grain. Four cross-bars with segments of battens. Panel has an auxiliary support panel. (Examination incomplete.)

[320A] Central left panel, upper register: A Deer Scratching the Earth under which Appears the Extremity of a Wooden Cross; lower register: The Cross Unearthed by Two Servants and Consecrated by a Bishop (No. 1368)

Visual examination. Wood inaccessible – not possible to remove a sample. Visually, the panel is similar in all respects to 320.

321. Outer left wing: The Annunciation (No. 6247)

1290 × 855 × 10 mm

Sample 500. Vertical grain. Good condition. Two boards. On the reverse: three people painted on a blue and grey background.

322. Outer right wing: The Birth of Christ (No. 4564)

1290 × 845 × 10 mm

Sample 499. Vertical grain. Insect damage. Cradle formed of cross-bars and upright segments. A brown paint covers the surface.

Jan Polack, latter half of the 15th century

323. The Weiheinstephan Altarpiece. Outer left wing, lower register: Death of St Corbinian (the upper register of the same panel is in fir, see ), Munich, Alte Pinakothek (No. 1402)

1467 × 1282 × 9 mm

Sample 517. Vertical grain. Good condition. Panel painted on both sides. On the reverse: Christ in the Garden of Olives, probably painted on cloth.

Upper Rhine

Upper Rhine School, 1467 (museum attribution: Martin Schongauer)

324. The Annunciation of Three Angels, Strasbourg, Musée des Beaux-Arts (No. 7. Inv. no. 1451)

537 × 398 × 5 mm

Sample 1413. Vertical grain. Numerous insect holes, particularly visible in the thinned parts of the support. One board. Knots. Cut with an adze. Edges of the panel are thinned at the top and bottom.

Gaspard Isenmann, 1462–1464

325–327. The Passion Altarpiece, three panels, Colmar, Musée d’Unterlinden (Nos. 3A, 3B, 4A, 4B, 5), originally from the church of Saint-Martin, Colmar

325. The Flagellation (No. 3B)

875 × 900 mm (thickness not measurable)

Sample 1450. Vertical grain. Dowels for attaching the cross-bars visible on the front of the panel. Panel painted on both sides. On the reverse: The Crowning with Thorns (No. 3A). (Examination incomplete, reverse inaccessible.)

326. The Resurrection (No. 5)

1096 × 743 × 24 mm

Sample 1448. Vertical grain. Apparent good condition. Several boards, impossible to ascertain the exact number. Panel painted on both sides. On the reverse: Head of St Barbara.

327. The Burial on the left and The Entombment on the right (Nos. 4A, 4B)

1064 × 1550 mm (thickness not measurable)

Sample 1451. Attachment dowels for cross-bars visible on the front of the panel. (Examination incomplete, reverse inaccessible.) Painting on marouflage canvas. Panel Nos. 1A, 1B and 2A, 2B, representing The Entrance of Christ into Jerusalem, The Last Supper, Christ in the Garden of Olives and The Kiss of Judas, have not been studied.

The Master of Basel, 1445

328. The Death of St Anthony, fragment of an altarpiece, Munich, Alte Pinakothek (No. 9159) (paired with No. 9160 which was not examined)

615 × 255 × 20 mm

Sample 484. Vertical grain. Some insect holes. Two boards. Reinforcing uprights on the edges of the lateral sides of the panel. Traces of inset cross-bars. A ground and varnish cover the surface.

The Master of the Crucifixion of Colmar, 15th century (museum attribution: the Master of Strasbourg, ca. 1490)

329. St James the Greater Arrested on the Order of Herod Agrippa, Strasbourg, Musée des Beaux-arts (No. 19. Inv. no. 1516)

856 × 720 × 8–10 mm

Sample 1414. Vertical grain. Three unequal boards: the two lateral boards are narrower. Probably assembled with dowels. Panel has an auxiliary support panel.

The Master of the Evangeliary of Brisach, 15th century (museum attribution: Le Maître Hautrhénan [Colmar?], ca. 1490)

330. The Altarpiece of St-Thiébault de Thann. Wing: Christ, St John, St James the Minor, St James the Major, Strasbourg, Musée des Beaux-Arts (No. 21. Inv. no. 461)

1550 × 1690 × 13–14 mm

Sample 1402. Vertical grain. Six boards (?). Image painted on both sides. On the reverse: Scenes of the Passion. Painted on marouflage cloth.

The Master of the Guebwiller Altarpiece, 15th century (museum attribution: Alsatian master, ca. 1460)

331. Wing of the Guebwiller Triptych: Visitation, Strasbourg, Musée des Beaux-Arts (No. 5. Inv. no. 1320), from Guebwiller

950 × 1140 × 4 mm

Sample 1407. Vertical grain. Good condition. Six boards (?). The original panel, painted on both sides, has been dismantled. On the reverse: St Peter and St Paul.

Attributed to Martin Schongauer, 15th century

332. The Beheading of John the Baptist, Munich, Alte Pinakothek (No. 10647)

1110 × 902 × 5 mm

Sample 495. Vertical grain. Insect tunnels, unfilled. Five boards. Wood grain visible through the paint layer on the front. Four cross-bars. Sections of bars on either side of these cross-bars. Pieces of wood across the board joints.

Workshop of Martin Schongauer, 1470

333–345. The Passion Altarpiece: Life of the Virgin (reverse), seven boards (predella of the altarpiece 346), Colmar, Musée d’Unterlinden (Nos. 9–24), from the Dominican church, Colmar

333. The Entry of Christ into Jerusalem (Nos. 9–26)

1160 × 1160 × 16 mm approx.

Sample 1463. Vertical grain. Good condition. Five to six boards (?). The wood grain is visible through the paint layer. Panel painted on both sides. On the reverse: The Mystical Hunt.

334. The Last Supper (Nos. 10–25)

1160 × 1160 × 16 mm approx.

Sample 1462. This panel is similar to 333.

335. Jesus in the Garden of Olives (No. 11)

1162 × 871 × 20 mm (uneven thickness)

Sample 1461. Vertical grain. Good condition. Six boards. The joints of the boards are very tight. Boards cut with an adze. Panel not reinforced. Bare wood.

336. The Kiss of Judas (No. 12)

1162 × 871 × 20 mm

Sample 1460. This panel is similar to 335.

Panel Nos. 13 and 14: no examination of the wood or the method of construction.

337. The Crowning with Thorns (No. 15)

1162 × 871 × 20 mm

Sample 1459. This panel is similar to 335.

338. The Carrying of the Cross (No. 16)

1162 × 871 × 20 mm

Sample 1468. Lacuna on the edge of one side. The rest of the construction is similar to 335.

339. The Descent from the Cross (No. 17)

1162 × 870 × 20 mm (uneven thickness)

Sample 1456. Vertical grain. Good condition. Six boards. The board joins are very tight. Boards shaped with an adze. Panel not reinforced. A varnish layer covers the surface.

340. The Entombment (No. 18)

1162 × 871 × 20 mm

Sample 1455. This panel is similar to 339. Bare wood.

341. The Descent into Limbo (Nos. 19 and 28 [29])

1160 × 1160 × 16 mm

Sample 1464. Vertical grain. Good condition. Five to six boards (?). Panel painted on both sides. On the reverse: The Nativity.

Panel No. 20: no examination of the wood or the method of construction.

342. Jesus and Mary Magdalene (No. 21)

1160 × 840 × 20 mm

Sample 1453. Vertical grain. Very good condition. Six boards. Board joints very tight. Boards cut with an adze. Two non-original cross-bars. Marks indicating old cross-bars inserted on the sides of the panel. Bare wood.

343. The Incredulity of St Thomas (No. 22)

1160 × 872 × 15 mm (uneven thickness)

Sample 1452. Vertical grain. Very good condition. Six boards. Boards shaped with an adze. Board joins very tight. Panel not reinforced. Bare wood.

344. The Ascension (Nos. 23–32 [30])

1160 × 1160 × 16 mm

Sample 1465. Vertical grain. Good condition. Five to six boards (?). Wood grain visible through the paint layer. Panel painted on both sides. On the reverse: The Crowning of the Virgin.

345. The Descent of the Holy Spirit (Nos. 24–31)

1160 × 1160 × 16 mm

Sample 1466. This panel is similar to 344. Panel painted on both sides. On the reverse: Jesus among the Doctors.

Workshop of Martin Schongauer, 1474 (museum attribution: Mathis Gothardt-Neithardt, called Grunewald, ca. 1490)

346. The Altarpiece of the Passion, predella: Christ the Saviour and the Twelve Apostles, Strasbourg, Musée des Beaux-Arts (No. 11. Inv. no. 1443), from the Dominican church, Colmar (part of the same altarpiece as 333–345)

300 × 2500 × 40 mm

Sample 1388. Horizontal grain. Very good condition. One board. Placements of two cross-grain cross-bars, fixed with dovetail joints, on the outer lateral sides of the panel. Traces of 70 mm dowels.

Attributed to Konrad Witz, beginning of 1445

347. St Catherine and St Madeleine, Strasbourg, Musée des Beaux-Arts (No. 3. Inv. no. 77)

1618 × 1300 × 8–10 mm

Sample 1412. Vertical grain. Good condition. Five or six boards. Panel cradled. Bare wood.

Hans Fries, signed, dated 1501

348–353. Wings of a small Altarpiece of the Virgin, Munich, Alte Pinakothek (No. W.A.F. 280–285), probably from the Cistercian church, Hauterive

In the current layout of the museum (viewed from the front):

348. Outer right panel: The Fall of the Damned (No. W.A.F. 281)

1044 mm (left side); 1234 (right side) × 267 × 5 mm (panel half-arched)

Sample 519A. Vertical grain. Some insect holes. One board. Panel not reinforced. Bare wood.

349. Outer left panel: The Resurrection of the Saints (No. W.A.F. 280)

1044 mm (right side); 1234 (left side) × 267 × 5 mm (panel half-arched)

Sample 519 B. This panel is similar to 348.

350. Inner left panel, upper register: St Francis Receiving the Stigmata (No. W.A.F. 283)

598 mm (right edge); 687 (left edge) × 375 × 7 mm (panel half-arched)

Sample 519E. Vertical grain. Partial filasse. Traces of red paint and gilding. Possibly cloth under the gilding.

351. Inner left panel, lower register: St Anne with the Virgin and Child (No. W.A.F. 285)

620–642 × 374 × 7 mm

Sample 519F. This panel is similar to 350.

352. Inner right panel, upper register: The Vision of St Bernard (No. W.A.F. 282)

598 mm (right side); 687 (left side) × 375 × 7 mm (panel half-arched)

Sample 519C. This panel is similar to 351.

353. Inner right panel, lower register: The Martyrdom of St Sebastian (No. W.A.F. 284)

620–642 × 374 × 7 mm

Sample 519 D. This panel is similar to 352.

Saxony

The Master of Gottingen, ca. 1420 (museum attribution: German School)

354. Christ having Descended from the Cross, Paris, Musée du Louvre (no number, p. 70. Inv. no. R.F. 2306)

360 × 260 × 3 mm (without auxiliary panel)

Samples 352 A, B. Vertical grain. Good condition. One board. Panel has a cross-grain poplar auxiliary support panel. Warped support.

The Master of the Altarpiece of the Regulars of the Town of Erfurt, 15th century

355. The Death of the Virgin, Munich, Alte Pinakothek (No. 10857) (for the other panel of the same altarpiece, see )

1600 × 600 × 8 mm

Sample 521. Vertical grain. Very few insect holes. Panel warped, not reinforced, painted on both sides. On the reverse: An Angel.

Swabia

German School (Swabia?), ca. 1470

356. The Nativity, wing of an altarpiece, Strasbourg, Musée des Beaux-Arts (No. 51A. Inv. no. 1956)

664 × 565 × 18 mm

Sample 1403. Vertical grain. Good condition. Two boards. Joins are very tight.

Hans Burgkmair the Elder, signed, dated 1528

357. Esther before Ahasuerus, Munich, Alte Pinakothek (No. 689)

1030 × 1560 × 10 mm

Sample 568. Horizontal grain. Good condition. Warping of the panel. Support not reinforced. Surface of the wood has been stained. Image probably painted on filasse (?).

Studio of Master of Messkirch, dated 1535 (museum attribution: German School, 15th century)

358. The Last Judgement, Nancy, Musée des Beaux-Arts (Inv. no. 1220)

558 × 405 × 8 mm

Sample 601. Vertical grain. Good condition. Panel reinforced with a frame of three cross-bars. Split. A ground and a dark varnish covers the surface.

Bernhard Strigel, dated 1517

359. Portrait of Conrad Rehlinger and his Children, Munich, Alte Pinakothek (No. W.A.F. 1065) (paired with 360)

2600 × 985 × 13 mm

Sample 524. Vertical grain. Good condition. Three or four boards. Wide cradle. A brown wood stain covers the surface.

Bernhard Strigel, dated 1517

360. Conrad Rehlinger the Elder, Munich, Alte Pinakothek (No. W.A.F. 1064) (paired with 359)

2600 × 1000 × 13 mm

Sample 525. Vertical grain. A band of cloth partially covers evidence of each of the two joints. Pieces of wood cover the cloth. Cross-grain cross-bars. A brown wood stain covers the surface.

South Germany

South German School, ca. 1480 (museum attribution: French School of the 15th century)

360A. St Margaret and St Catherine. New York, Metropolitan Museum of Art (No. 32823)

803 × 469 mm

Sample 1545. Vertical grain. The cradle prevented examination of the construction of the panel.

Tyrol

The Master of Innsbruck, ca. 1480–1490

361. Duke Sigismond of Münzreich, Munich, Alte Pinakothek (No. 2607)

522 × 360 × 8 mm

Sample 491. Vertical grain. Good condition. Strip of filasse at the centre, along the whole height of the panel. A black paint covers the surface. Support not reinforced.

French School

Provence

The Master of the Annunciation of Aix, ca. 1443

362. The Prophet Jeremiah, right wing of the Annunciation Altarpiece, Brussels, Musées Royaux des Beaux-Arts (No. 950. Inv. no. 4494) (for the central part, see ; for the upper part of the left wing, see )

1520 × 845 × 15 mm

Samples 1530 A, B. Vertical grain. Extensive insect damage. The number of boards was impossible to ascertain. Panel painted on both sides. On the reverse: Christ Appearing to Magdalene. Painted on pure linen canvas (sample 1530B), marouflage.

Eastern Provence

Attributed to Louis Brea, 1500–1510

363–364. Predella of the St Margaret Altarpiece in Luceram, two panels, Nice, Musée Massena. From the parish church of Luceram (Alpes-Maritimes). (Side panels: see . The lower register of the central part is located at the church at Luceram, the upper register has disappeared)

In the then layout of the museum:

363. Upper panel

540 × 1740 × 3 mm

Sample 473E. Horizontal grain. Insect damage. Two boards or one split across the entire width. Shoulder along the edge on the right side. Frame fixed to the front. Panel not reinforced. Bare wood.

364. Lower panel

500 × 1720 × 3 mm

Sample 473F. Horizontal grain. Insect damage. Shoulder along the edge of the left side.

School of Louis Brea, end of the 15th century

365–366. Fragments of an altarpiece, two panels, Nice, Musée Masséna, from Luceram

365. Left panel: St John the Baptist; upper part: The Angel Gabriel

1697 × 936 × 20 mm

Sample 474A. Vertical grain. Good condition. Two unequal boards, 400 mm and 70 mm in width. Several knots.

366. Right panel: St Bartholomew; upper part: The Virgin

1697 × 936 × 20 mm

Sample 474B. Vertical grain. Good condition. Two unequal boards, 390 mm and 70 mm in width. Non-original wooden strips applied.

Nice School, ca. 1500

367. The Virgin and Child with St Peter and St Paul, Nice, Musée Masséna

1410 × 1550 × 30–35 mm

Samples 475 A– E. Five boards (right to left: A, B, C, D; at the bottom E). The four boards making up the main part of the panel – vertical grain. The board (E) perpendicular to the main panel – horizontal grain. Board C is made of fir (see ). The image is painted on the five boards. Good condition. There are three original cross-bars. Assembly with flush-edge joints, reinforced with strips of textile. The paint layer is on a layer of hemp canvas (sample 475E) applied over the entire surface of the front of the panel.

Italian School

Umbria-Siena

School of Pintorichio, 15th century, occasionally attributed to Matteo Balducci

368. The Judgement of Solomon, Paris, Musée du Louvre (No. 1571, p. 96. Inv. no. M.I. 549) (paired with 369)

970 × 1400 × 20 mm

Sample 149. Horizontal grain. Some insect holes. Three boards. Two cross-bars fixed with nails inserted from the front. Bare wood.

School of Pintorichio, 15th century, occasionally attributed to Matteo Balducci

369. The Judgement of Daniel, Paris, Musée du Louvre (No. 1572, p. 96. Inv. no. M.I. 550) (paired with 368)

960 × 1250 × 15 mm

Sample 143. Horizontal grain. Some insect holes. A split across the width of the panel. Two cross-bars applied.

Venice

Paolo Caliari called Veronese, 16th century

370. Christ on the Road to Calvary, Paris, Musée du Louvre (No. 1194, p. 42. Inv. no. 144; M.R. 391)

565 × 722 × 10–12 mm

Samples 93; 1129. Horizontal grain. Apparent good condition. Panel not reinforced. A ground layer covers the surface.