Wooden Supports

German School

German School, ca. 1400, previously attributed to Jean d’Arbois ca. 1370–1380

933. The Besançon Passion Altarpiece: Placement on the Cross; Calvary; The Entombment; The Resurrection, four panels, Besancon, Musée des Beaux-Arts

1420 × 720 × 14 mm (each)

Sample 1540. Horizontal grain. Three unequal boards: one of 290 mm in length, two others 560 mm each. Assembled with spline joints. Knots, most of them removed and the voids filled with a putty. Panel not reinforced. Ground, filasse and cloth laid on the front of the panel.

German School, 15th century

933A. Calvary, Saint-Omer, Museum

1420 × 2030 (without frame) × 50 mm (with frame)

Samples 1010 A–J. Horizontal grain. Some insect holes. Nine boards. Assembled with flush-edge joints. Strips of cloth over the joins. Two braces across the grain, bolted to the panel. Panel held in the rebate of the oak frame (sample 1010J). Members of the frame assembled with cross tenon joints and attached with a dowel. Painted on marouflage canvas.

Attributed to the German School, 15th century

934. The Death of the Virgin, Avignon, Musée Calvet (No. 474)

950 × 660 × 4 mm

Sample 657. Vertical grain. Seemingly good condition; some insect holes. Three unequal boards – the lateral boards are narrower. Strips of cloth on the joins.

Bavaria

Jan Polack, second half of the 16th century

935. The Weihenstephan Altarpiece: St Corbinian and the Bear, outer left wing, upper register (the lower register of the same panel is of spruce, see ), Munich, Alte Pinakothek (No. 1400)

1455 × 1284 × 5 mm

Sample 518. Vertical grain. Good condition. Painted on both sides. On the reverse: Christ Carrying the Cross probably painted on filasse.

Colmar

Attributed to Urbain Huter, Colmar, 15th century

936. The Altarpiece of Andlau-Stauffenberg: St Anne Visits the Infant Jesus, Colmar, Musée d’Unterlinden (No. 75A), from the church of the Recollects, Rouffach

1770 × 1110 mm (thickness not measurable)

Sample 1442. Vertical grain. Good condition. Panel painted on both sides.

School of Martin Schongauer, Colmar, 15th century (museum attribution: Urbain Huter)

937. The Crucifixion, Colmar, Musée d’Unterlinden (No. 90), belongs to Colmar civil hospital

1315 × 1520 × 10 mm

Sample 1454. Vertical grain. Insect damaged. Several boards (cannot be counted due to the perfection of the joins). Roughly cut with an adze, visible through the paint layer. Panel cradled.

The Master of the Altarpiece of Stauffenberg, Colmar, 1454–1460 (museum attribution: Martin Schongauer)

938. The Altarpiece of Stauffenberg, left wing: The Annunciation, Colmar, Musée d’Unterlinden (No. 37A), from the church of the Antonites d’Issenheim (for the right wing see)

1270 × 430 mm (thickness not measurable)

Sample 1474. Vertical grain. Very good condition. Two boards. Panel split.

The Master of the Altarpiece of Stauffenberg, Colmar, 1454–1460 (museum attribution: Martin Schongauer, 15th century)

939. The Altarpiece of Stauffenberg, right wing: The Adoration of the Holy Virgin and St Joseph, Colmar, Musée d’Unterlinden (No. 37B), from the church of the Antonites, Issenheim (for the left wing see )

1270 × 430 mm (thickness not measurable)

Sample 1476. Vertical grain. Insect damage. Two boards. Panel split.

The Master of the Altarpiece of Stauffenberg, Colmar, 1454–1460 (museum attribution: Martin Schongauer, 15th century)

940. The Altarpiece of Stauffenberg, centre: The Virgin Holding her Dead Son on her Knees, Colmar, Musée d’Unterlinden (No. 39), from the church of the Antonites, Issenheim (for the left and right wings see ).

1270 × 980 mm (thickness not measurable)

Sample 1475. Vertical grain. Good condition in appearance. Many boards (impossible to count). Cloth on the face at some gilded areas.

The Master of the Altarpiece of Stauffenberg (left scene), the Master of the Livre de Raison (right scene), 15th century, previously attributed to Martin Schongauer (museum attribution: Rhine School, 15th century)

941. The Bergheim Predella. Two scenes: left scene: The Sermon of John the Baptist; right scene: St George Slaying the Dragon. One panel (see also ), Colmar, Musée d’Unterlinden (No. 60), from Tempelhof of Bergheim in Haute-Alsace.

902 × 2188 × 25 mm

Samples 1457 A, B. Horizontal grain. Extensive insect damage. Six boards. Four cross-bars set in across the grain. On the edge of the left side, a groove along the entire height of the panel inset with a strip of oak (sample 1457B). This strip may indicate an assemblage with spline joints.

Upper Rhine School, Colmar, beginning of the 16th century

942. The Crucifixion, wing of an altarpiece, Colmar, Musée d’Unterlinden (No. 91), from the Augustinian convent in Colmar

925 × 580 × 10 mm

Sample 1443. Vertical grain. Extensive insect damage. Two unequal boards. Very tight assembly. A black paint covers the surface. Panel not reinforced. Painting on marouflaged cloth.

Attributed to Hans Wechtlin (called Pilgrim), 16th century

943. Christ and the Apostles, predella, Colmar, Musée d’Unterlinden (Nos. 63–69c), Jean Dollfus Collection

360 × 1188 mm (without wooden strip)

Samples 1445 A–C. Horizontal grain. One main board. Smaller and more recent boards of 40 mm in spruce (sample 1445C), on the four side edges of the panel. Roughly cut with an adze. Fixing holes for pegs at the very top and at the bottom of the main board. Broken fixing pegs of missing cross-bars in poplar (sample 1445B). On the very edges of the panel, cross-bars attached to the panel by four pegs.

Cologne

The Master L. Cz. (Master of the Strache Altarpiece), 1420, previously attributed to Hans Schuchling, ca. 1505

944. The Flagellation, Paris, Musée du Louvre (No. 2745A, p. 73. Inv. no. R.F. 1845)

778 × 610 × 12 mm

Samples 174 A–C. Vertical grain. Insect damage. Many boards. The support consists of three superimposed wooden panels. The panel visible on the reverse is in beech (sample 174C), the middle panel between the previous panel and the panel itself is in Scots pine (sample 174B). Reduced cradle in walnut wood (?).

The Master of Veronica, ca. 1400

945. St Veronica and the Holy Shroud, Munich, Alte Pinakothek (No. 11866; formerly No. H.G. 664), from the church of Saint-Severin, Cologne

780 × 483 × 15 mm

Sample 488. Vertical grain. Good condition. Two unequal boards. Panel not reinforced. Red paint covers the surface.

Franconia

Hans Pleydenwurff, ca. 1450

946. The Crucifixion, centre of an altarpiece, Munich, Alte Pinakothek (No. 6218)

1585 mm (edges); 1920 (centre) × 1805 mm (thickness not measurable)

Sample 501. Vertical grain. Good condition; some insect holes. Four boards. Two cross-grain cross-bars. Three uprights. Pieces of wood over the splits. Traces of painted figures on the reverse.

Hans Pleydenwurff, 1465

947–950. Altarpiece of Hof, four panels, Munich, Alte Pinakothek (Nos. 663, 664, 666, 670), from the church of the Trinity in Hof.

The original layout:

947. Outer left wing: Christ on the Mount of Olives (No. 663)

1755 × 1125 × 17 mm

Sample 505. Vertical grain. Good condition. Four boards (?). Painting on marouflaged cloth. Panel painted on both sides. On the reverse: The Archangel Michael. Grain of the wood visible through the paint layer.

948. Inner left wing: The Crucifixion (No. 670)

1735 × 1090 mm (thickness not measurable)

Sample 504. Vertical grain. Good condition. Painting on both sides on marouflaged cloth. On the reverse: The Annunciation.

949. Inner right wing: The Descent from the Cross (No. 664)

1740 × 1075 mm (thickness not measurable)

Sample 502. Vertical grain. Good condition. Painting on both sides on marouflaged cloth. On the reverse: The Birth of Christ.

950. Outer right wing: The Resurrection (No. 666)

1745 × 11124 × 15 mm

Sample 503. Vertical grain. Good condition. Four boards (?). Painted on marouflage canvas. Panel painted on both sides. On the reverse: St Bartholomew and St James. Wood grain visible through the paint.

Albrecht Dürer, ca. 1500

951. The Lamentation of Christ, Munich, Alte Pinakothek (No. 704)

1510 × 1214 × 11 mm

Sample 552. Vertical grain. Insect damage. Cradle. Brown wood stain on the surface.

Hans Leonhard Schaufelein, ca. 1525–1530

952–953. Altarpiece of Christgarten, two panels, Munich, Alte Pinakothek (Nos. W.A F. 922, W.A.F. 924), from the monastery of Christgarten, Donau-Ries

952. The Liberation of St Peter (No. W.A.F. 924)

1290 × 1000 × 3 mm

Sample 534. Vertical grain. Good condition. Four cross-grain cross-bars and upright segments. A yellow varnish covers the surface.

953. The Calling of St Peter (No. W.A.F. 922)

1290 × 980 × 6 mm (?)

Sample 535. Panel is the same construction as 952. A panel painted on both sides has been split. The old reverse image shows: Christ Crowned with Thorns (No. W.A.F. 922a).

Rhine

Rhine School, ca. 1510

954–958. The Altarpiece of St Sebastian, four wings, predella (the carved central panel is in limewood, samples 1398 A, B), Strasbourg, Musée des Beaux-Arts (No. 23. Inv. no. 459), from the chapel of Saint-Sébastien à Neuviller-lès-Saverne (Lower Rhine)

954. Far left wing: St Leon as Pope

1070 × 280 mm (without frame – thickness not measurable)

Samples 1396 A, B. Vertical grain. Good condition. One board. Panel held in the rebate of the original frame. Red and blue patches on a black background, on the surface.

955. Inner left wing: St Lawrence

1080 × 280 mm (without frame – thickness not measurable)

Samples 1397 A, B. Vertical grain. Good condition. One board. Panel held in the rebate of the original frame (sample 1397B). Painted on both sides. On the reverse: painted scene.

956. Far right wing: St Roch

1070 × 270 mm (without frame – thickness not measurable)

Sample 1400. Vertical grain. Very good condition. One board. Panel held in the rebate of the original frame. Red and blue stains on a black background, on the surface.

957. Inner right wing: St Stephen

1080 × 280 mm (without frame – thickness not measurable)

Sample 1399. Vertical grain. Very good condition. One board. Panel held in the rebate of the original frame. Painted on both sides. On the reverse: The Martyrdom of St Sebastian.

958. Predella: Scenes of the Passion: The Crucifixion; Carrying the Cross; The Lamentation of Christ

295 × 1570 mm (thickness not measurable)

Samples 1401 A, B. Horizontal grain. Very good condition. A concave board on the lateral sides. (Examination incomplete, reverse inaccessible.)

Rhine School, beginning of the 16th century

959. St Ursula and her Companions, Colmar, Musée d’Unterlinden (No. 78 A, B)

980 × 630 mm (thickness not measurable)

Sample 1438. Vertical grain. Three boards (?). Wood grain visible through the paint layer. Painted on both sides. On the reverse: St Wendelin Shepherding his Flock.

Middle Rhine

Attributed to the Middle Rhine School, ca. 1400, previously attributed to the Bohemian School, ca. 1360

960. The Crucifixion, Colmar, Musée d’Unterlinden (No. 57)

1270 × 865 × 20 mm approx.

Sample 1477. Vertical grain. Extensive insect damage. Four boards and one 68 mm wooden strip on the edge of the left side. The tightness of the joins suggests assembly with dowels. Emplacements for two cross-grain cross-bars covered with pieces of later wood. Edges of the panel are thinned. Bare wood. Painted on marouflaged cloth.

Attributed to Mathis Gothardt-Neithardt, called Grunewald, 1479

961. The Virgin in the Garden, Strasbourg, Musée des Beaux-Arts (No. 14. Inv. no. 378)

470 × 375 × 3 mm

Sample 1386. Vertical grain. Good condition. Three boards. Splits. Wide cradle. Bare wood. Cloth under the gilding on the face of the panel.

The Master of Strasbourg, ca. 1410

962–963. Fragments of a Triptych of the Virgin (lost), two panels, Strasbourg, Musée des Beaux-Arts (No. 1, No. 2. Inv. nos. 1481, 1482), probably from the church of the old convent of Saint-Marx in Strasbourg

962. The Nativity of the Virgin (called The Education of the Virgin in the museum catalogue)

1175 × 1170 mm (thickness not measurable)

Sample 1409. Horizontal grain. Good condition. Four boards. Assembled with dowels (traces of holes and dowels)

963. The Virgin at the Spinning Wheel (called Joseph’s Doubt in the museum catalogue)

1160 × 1165 mm (thickness not measurable)

Sample 1410. Horizontal grain. Good condition.

The Master of the Passion of Darmstadt, 1435–1450

964. The Young Dwarf Resuscitated, Munich, Alte Pinakothek (No. 9443)

960 × 705 × 7 mm

Sample 494. Vertical grain. Some insect holes. Four boards (?). Cross-grain cross-bars and segments of uprights. A clear varnish covers the surface. Panel painted on marouflaged cloth.

The Master of the Book of Wisdom (right scene), the Master of the Altarpiece de Stauffenbreg (left scene), 15th century, attributed originally to Martin Schongauer (museum attribution: Rhine School, 15th century)

965. Predella of Bergheim, one panel, two scenes: (right) St George Slaying the Dragon, (left) The Sermon of John (see ), Colmar, Musée d’Unterlinden (No. 60), from Tempelhof of Bergheim in Haute-Alsace

902 × 2188 × 25 mm

Samples 1457 A, B. For an examination of the panel, see .

Upper Rhine

School of Constance, dated 1474 (museum attribution: the Master of Strasbourg of 1474)

966. The Allegory of the Rich Man and Lazarus the Poor, Strasbourg, Musée des Beaux-Arts (Inv. no. 118)

800 × 623 × 10 mm approx.

Sample 1408. Vertical grain. Panel has slight insect damage at the base. Two boards. Panel cradled. Recent paint covers the surface.

Hans Baldung Grien, dated 1520

967. The Nativity of Christ, Munich, Alte Pinakothek (No. 6280)

1065 × 704 × 8 mm

Sample 565. Vertical grain. Insect damage. Three boards. Panel not reinforced. Wood stained.

Hans Baldung Grien, dated 1529

968. Feminine Allegory: Vanity, Munich, Alte Pinakothek (No. 5376) (paired with 1033, painted on limewood)

825 × 357 × 8 mm

Sample 562. Vertical grain. Very good condition. Two boards. Panel not reinforced. Black paint covers the surface.

Salzburg

Rueland Frueauf the Elder, second half of the 15th century

969. The Resurrection of Christ, Munich, Alte Pinakothek (No. 10681)

1790 × 1165 × 13 mm

Sample 493. Vertical grain. Insect holes on both sides. Nine boards. Panel painted on both sides. The surface of the reverse has lozenge-shaped striations. Four cross-grain cross-bars attached and segments of uprights. Traces of paint.

Saxony

The Master of Circular Drawings of Cobourg, 15th century (museum attribution: the Master of the Passion of Strasbourg, ca. 1485)

970. St Conrad of Constance, Bishop, wing from an altarpiece, Strasbourg, Musée des Beaux-Arts (No. 20. Inv. no. 98)

1417 × 390 × 4 mm

Sample 1395. Vertical grain. Good condition. One board (?). Panel reinforced. Four cross-bars. The wood grain is visible through the paint layer.

The Master of Circular Designs of Cobourg, 15th century (museum attribution: workshop of Hans Baldung Grien)

971. The Death of the Virgin, fragment, Strasbourg, Musée des Beaux-Arts (No. 26A. Inv. no. 1644), from the church of Sainte-Madeleine, Strasbourg

1595 × 814 × 6–10 mm

Sample 1416. Vertical grain. Insect damage. Four boards. Wide cradle. Varnished wood.

The Master of the Altarpiece of the Regulars of the City of Efurt, 15th century

972. The Presentation of Mary in the Temple, Munich, Alte Pinakothek (No. 10856) (for the other panel from the same altarpiece see )

1600 × 585 mm (thickness not measurable)

Sample 520. Vertical grain. Few insect holes. Warped panel. Support not reinforced. Painted on both sides. On the reverse: An Angel.

Lucas Cranach the Elder, dated 1503

973. Christ on the Cross, Munich, Alte Pinakothek (No. 1416)

1370 × 887 × 6 mm

Sample 551. Vertical grain. Extensive insect damage. Pieces of wood over the splits. Panel not reinforced. Layers of ground, red paint and varnish cover the surface.

Lucas Cranach the Elder, 1525–1530

974. Cardinal Albrecht von Brandenburg Kneeling before the Crucifix, Munich, Alte Pinakothek (No. 3819)

1585 × 1120 × 20 mm

Sample 553. Vertical grain. Some insect holes. Several boards. Six pieces of wood at the base and at the top. Shouldering on the edges of the panel. Support not reinforced. Wood stained.

Swabia

The Master of Ulm, dated 1457

975. Christ Suffering between Mary and St John the Evangelist, Munich, Alte Pinakothek (No. 1362)

1335 × 973 × 14 mm

Sample 498. Vertical grain. Good condition; a few insect holes. Three pieces of wood over a split. Warped panel. Support not reinforced. Red paint covers the surface.

The Master of Ulm 1470 (museum attribution: Mathis Gothardt-Neithardt called Grunewald)

976. The Allegory of Ephemera or The Lovers having Passed On, Strasbourg, Musée des Beaux-Arts (No. 10. Inv. no. 1442) (reverse of the painting, A Bridal Couple, in the Cleveland Museum, USA)

650 × 395 × 2–3 mm

Sample 1390. Vertical grain. Good condition. One board. Black paint covers the surface of the reverse of the support.

Bernhard Strigel, end of the 15th century

977. Portrait of Hans Funk, Munich, Alte Pinakothek (No. 11461) (paired with 978)

616 × 377 × 15 mm

Sample 543. Horizontal grain. Good condition; some insect holes. Three boards. A cross-grain cross-bar attached in the centre of the panel. Bare wood.

Bernhard Strigel, end of the 15th century

978. The Virgin and Child, Munich, Alte Pinakothek (No. 1067) (paired with 977)

624 × 385 × 13 mm

Sample 544. Horizontal grain. Good condition; some insect holes. Three boards. A cross-grain cross-bar in the centre of the panel. Wood lightly stained.

Bartholomäus Zeitblom, beginning of the 16th century

979. St Anne with the Virgin and Child and Four Saints: Margaret, Barbara, Dorothy and Mary Magdalene, Munich, Alte Pinakothek (No. 1206)

363 × 918 × 15 mm

Sample 545. Horizontal grain. Good condition. Two boards. Traces of double dovetail keys across the join of the boards and across one split. Pieces of later wood over the other splits.

Westphalia

Westphalian School, ca. 1410

980. The Saints Gereon (?), Anthony, James the Elder, Patroclus, Lawrence, fragment, Munich, Alte Pinakothek (No. 9118)

373 × 275 × 20 mm

Sample 487. Horizontal grain. Good condition. One board. Panel not reinforced. A thick black paint covers the surface.

Spanish School

Girona

Catalan School, Girona, 14th century

981. Decorative paint scheme, one panel, Barcelona, Museu Nacional d’Art de Catalunya (No. 24043), from the ceiling of the castle of Peratallada (?)

Sample 786. Horizontal grain. One board. Bare wood. Panel not reinforced.

Catalan School, Girona, 14th century

982. Decorative paint scheme, seven panels, part of a whole ensemble (see ), Barcelona, Museu Nacional d’Art de Catalunya (No. 24033), from the ceiling of the castle of Peratallada (?)

120–150 × 270–280 × 10 mm (for each)

Samples 909 A–H. Horizontal grain. One board. Bare wood. Support not reinforced.

French School

Provence

The Master of the Aix Annunciation, ca. 1443

983. Still Life, left wing from the Annunciation Altarpiece; upper part, Amsterdam, Rijksmuseum (Inv. no. A 2399) (for the central panel see ; right panel, see )

281 × 575 × 13–15 mm (with wooden strip); 237 × 555 mm (without wooden strip)

Samples 1526 A–F. Vertical grain. Good condition. Some insect holes located on the left side of the panel, towards its centre. One board. The four wooden strips, on the edges of the sides, framing the panel, have the following characteristics. At the base: spruce or larch (sample 1526B) – width 25 mm; depth 15 mm, vertical grain. At the top: spruce or larch (sample 1526C) – width 17 mm; depth 16 mm, horizontal grain. Right: spruce or larch (sample 1526D) – width 4 mm; depth 13 mm, vertical grain. Left: spruce or larch (sample 1526E) – width 8 mm; depth 15 mm; vertical grain. A split seen in the front corresponds with the insect damage on the reverse. A decorative painting on linen (sample 1526F), marouflage, applied on the front depicts yellow and red patterns on a black background.

Eastern Provence

Attributed to Louis Brea, end of the 15th century

984–985A. The St Margaret Altarpiece in Luceram. Side sections: eight saints. Four panels. (For the predella see . The lower register of the central part is currently at the church of Luceram; the upper register is missing.) Nice, Musée Masséna, from the parish church of Luceram (Alpes-Maritimes)

984. Outer left panel

1310 × 260 × 2 mm

Sample 473A. Vertical grain. Good condition. One board. Architectural frame, applied to the front and attached to the panel with nails inserted from the front.

984A. Outer right panel

1310 × 260 × 2 mm

Sample 473D. The construction of the panel is similar to 984.

985. Inner left panel.

1540 × 250 × 2 mm

Sample 473B. Vertical grain. Good condition. One board. Architectural frame with very elongated triangular pediment, a kind of gablet, applied to the front and attached with nails inserted from the front.

985A. Inner right panel

1540 × 250 × 2 mm

Sample 473 C. The construction of the panel is similar to 985.

Nice School, ca. 1500

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

1410 × 1550 × 30–35 mm

Sample 475C. Five boards. Four with vertical grain, numbered from left to right A, B, C, D; one at the bottom, with horizontal grain. Board C is in fir, the others are in spruce (see : incomplete examination of the panel).

Italian School

Florence

Florentine School, middle of the 13th century

987. The Madonna of Pisa, Florence, Galleria degli Uffizi (Inv. no. 9213)

890 × 600 mm

Sample 953. Vertical grain. (The construction of the panel was not studied.)

The Master of the Magdalena, 13th century

988. The Virgin on a Throne between St Andrew and St James, Paris, Musée des Arts Décoratifs (Inv. no. P.E. 76)

920 × 1320 × 30 mm (uneven thickness)

Sample 975. Horizontal grain. Good condition of the support, cross-bars severely insect damaged. Three boards. Assembled with flush-edge joints. Two fir cross-bars, attached, to the edges of the panel. A cross-bar is placed in the centre of the panel. The nails attaching the cross-bars to the support are inserted from the reverse. Black paint on a ground covers the surface. Painted on marouflage canvas.

Attributed to the Master of the Magdalen, 13th century

989. The Virgin and Child with Two Angels, Florence, Galleria degli Uffizi (Inv. no. 163), from the church of San Martino, Montughi

990 × 740 × 25 mm

Sample 639. Vertical grain. Insect damage. One board with horizontal grain was probably added at a later date. Panel has been cut. Two cross-grain cross-bars attached. Bare wood.

Florentine School, 14th century

990. Christ on the Cross, Paris, Musée du Louvre (No. 1655, p. 147. Inv. no. M.I. 357)

2844 × 2340 × 35 mm

Samples 209; 210; 347 A, B. Vertical grain of both the upper and lower sections of the cross; horizontal grain of the two side sections of the cross. Extensive insect damage. The reinforcing cross-bars are in poplar (sample 210).

Central Italy

Raphael, 16th century

991. Portrait of a Young Man, Paris, Musée du Louvre (No. 1506, p. 115. Inv. no. 613; M.R. 441).

597 × 441 mm (total dimension) × 8 mm

Sample 921 A–E. Horizontal grain of the upper board of the panel; vertical grain of the other boards. Very good condition. Five boards of unequal dimensions. Central board is pine (sample 921A), 425 × 335 mm, surrounded by four boards in oak (samples 921 B–E), measuring respectively 597 × 52 mm on the right, 597 × 54 mm on the left, 145 × 335 mm at the base and 27 × 338 mm (top board). Panel cradled.

Ferrara-Romagna

Francesco Zaganelli da Cotignola, 16th century, probably his son Bernardino

992. Christ Carrying the Cross, Paris, Musée du Louvre (No. 1641, p. 142. Inv. no. M.I. 577).

352 × 258 × 5 mm (without the auxiliary support panel)

Sample 225. Auxiliary support panel. Vertical grain. Good condition of support; insect damage on the auxiliary support panel. Two unequal boards 82 mm and 175 mm in width. Strip of 5 mm at the top of the panel is part of the auxiliary support panel.

Venice

Workshop of Titian, 16th century

993. Christ Led to Execution, fragment, Paris, Musée du Louvre (No. 1582, p. 136. Inv. no. 747; M.R. 522)

Diameter 1080 mm; thickness 15 mm

Sample 148. Horizontal grain. Very good condition. Attached frame 167 mm in thickness, consisting of a cross-grain cross-bar attached to the panel. A light red paint covers the surface. A branded inscription.

Verceil

Defendente Ferrari, 16th century (museum attribution: Piedmontese School, 16th century)

994. The Birth of St John the Baptist, Paris, Musée du Louvre (No. 1005B. Inv. no. R.F. 1512) (paired with 995)

935 × 865 × 8 mm (without auxiliary panel)

Samples 422 A, B. Vertical grain. Insect damage. 7 mm thick auxiliary support panel in oak (sample 422B). 13 mm oak strip on the top edge and base of the panel. Reduced cradle. (The paint layer had been ‘recently’ (1950s?) transferred onto cloth.)

Defendente Ferrari, 16th century (museum attribution: Piedmontese School, 16th century)

995. Deposition of the Cross, Paris, Musée du Louvre (No. 1005A. Inv. no. R.F. 1513) (paired with 994)

938 × 868 × 6 mm (without auxiliary panel)

Samples 423; 423A. Vertical grain. Insect damage. 6 mm thick auxiliary support panel in oak. 15 mm oak strip on the top edge and base of the panel. Reduced cradle in walnut wood. (The paint layer had been ‘recently’ (1950s?) transferred onto cloth.)