Wooden Supports

German School

Augsburg

Ulrich Apt the Elder, ca. 1512, previously attributed to monogrammist L.S.

999. Sts Narcissus and Matthew, central panel of triptych, Munich, Alte Pinakothek (No. 10349; formerly No. L.I. 1590)

1356 × 1074 × 14 mm

Sample 526. Vertical grain. Extensive insect damage; open insect channels. Panel cradled. A varnish covers the surface. (The wings, painted on both sides, were not examined.)

Ulrich Apt the Elder, 1512–1540, previously attributed to the monogrammist L.S.

1000. Lamentation over the Body of Christ, Munich, Alte Pinakothek (No. 1488)

594 × 472 × 15 mm (minimum thickness)

Sample 540. Vertical grain. Good condition. Two boards. Edges of the panel are bevelled on three sides; the fourth side, which corresponds to the base of the panel, was thinned for a cross-grain cross-bar. Later wooden strip on the edge of the right side. Panel not reinforced. Bare wood.

Austria

Austrian School, ca. 1400 (museum attribution: French School 14th century)

1001. The Virgin at a Writing Desk, Paris, Musée du Louvre (No. 3156, p. 272. Inv. no. R.F. 2047)

480 × 290 mm (thickness not measurable)

Sample 1527. Vertical grain. Good condition. Panel held in the rebate of the original frame. Paint covers the surface.

Bavaria

Master of the Altarpiece of the Passion of Tegernsee, ca. 1440

1002. The Crucifixion, Munich, Alte Pinakothek (No. 1438)

1830 × 2910 × 14 mm

Sample 497. Vertical grain. Extensive insect damage. Many boards impossible to count. One split in the centre of the panel. Cradle attached very tightly. A varnish covers the surface.

Albrecht Altdorfer, dated 1510

1003. St George in the Forest. Munich, Alte Pinakothek (No. W.A.F. 29)

282 × 224 × 4 mm

Sample 539. Vertical grain. Good condition. One board. Edges of the panel are bevelled. Support not reinforced. Partial layer of filasse. A black paint covers the surface. A seal.

Albrecht Altdorfer, dated 1526

1004. Susanna Bathing and the Punishment of the Slanderers, Munich, Alte Pinakothek (No. 698)

750 × 616 × 12 mm

Sample 537. Vertical grain. Good condition. 5 mm wide shoulder on the side edges of the panel. A layer of filasse and black paint covers the surface. Panel not reinforced.

Albrecht Altdorfer, dated 1529

1005. The Battle of Alexandria, Munich, Alte Pinakothek (No. 688)

1580 × 1200 mm (thickness not measurable)

Sample 533. Horizontal grain (?). Very good condition. A layer of filasse and red paint covers the surface.

Albrecht Altdorfer, 16th century

1006. St John the Evangelist and St John the Baptist the Precursor in a Romantic Landscape, Munich, Alte Pinakothek (No. L. 527)

1352 ×1743 × 13 mm

Sample 555. Vertical grain. Insect holes and open insect channels. Seven boards. Later 10 mm wooden strip on the edge of the right side. Panel not reinforced. A red paint covers the surface.

Albrecht Altdorfer, 16th century

1007. The Birth of the Virgin, Munich, Alte Pinakothek (No. 5358)

1412 × 1300 × 18–20 mm

Sample 554. Vertical grain. Open insect channels. Attachment sites for two cross-grain cross-bars. One inset cross-grain cross-bar at the top of the panel. A yellow varnish covers the surface.

Melchior Feselen, dated 1529

1008. The City of Rome besieged by Porsenna, Munich, Alte Pinakothek (No. 13)

1356 × 1074 × 14 mm

Sample 526. Vertical grain. Three bands of filasse across the width of the panel. Support not reinforced. A thick ground and black paint covers the surface.

Wolf Huber, ca. 1530

1009. Christ on the Mount of Olives, Munich, Alte Pinakothek (No. 8779)

650 × 677 × 7 mm

Sample 548. Vertical grain. Four boards. Roughly cut. Carved elements. Pieces of wood over the joins. Traces of gold. A light wood stain covers the surface.

Wolf Huber, 16th century

1010. The Arrest of Christ, Munich, Alte Pinakothek (No. 8780)

604 × 667 × 8 mm

Sample 547. Vertical grain. Good condition. Three boards (?). Roughly cut. A light stain covers the surface. Carved elements on the reverse.

Hans Muelich, dated 1542

1011. The Wife of Andreas Ligsalz, Munich, Alte Pinakothek (No. 12)

817 × 610 × 5 mm

Sample 546. Vertical grain. Good condition. Panel is warped. Coat of arms and date, 1574, painted on the reverse on a black background.

Hans Muelich, 16th century

1012. Portrait of Crazy Mertl, at the Court of Munich, Munich, Alte Pinakothek (No. L. 849)

650 × 487 × 7 mm

Sample 549. Vertical grain. Extensive insect damage. Support not reinforced. A ground and red paint layer cover the surface.

Bohemia

Bohemian School, ca. 1400

1013. The Virgin and Child, Brussels, Musées Royaux des Beaux-Arts (No. 1113. Inv. no. 6585)

440 × 337 × 6–7 mm.

Sample 1531. Vertical grain. Extensive insect damage. A split runs the length of the panel. Panel painted on marouflaged cloth.

Franconia

Albrecht Dürer, dated 1500

1014. Portrait of a Young Man, Munich, Alte Pinakothek (No. 694)

290 × 255 × 3 mm

Sample 573. Vertical grain. Two boards. 40 and 24 mm modern wooden strips on the edges of the sides of the panel. Support not reinforced. Bare wood.

Albrecht Dürer, dated 1526

1015–1016. The Four Apostles, two panels, Munich, Alte Pinakothek (Nos. 540, 545)

1015. St Paul and St Mark (No. 540)

2145 × 760 mm (thickness not measurable)

Sample 531. Horizontal grain. Good condition. Panel held loosely in the frame. Red paint covers the surface.

1016. St John and St Peter (No. 545)

2155 × 760 mm (thickness not measurable)

Sample 530. This panel is similar to 1015.

Albrecht Dürer, 16th century

1017. Paumgartner Altarpiece, central panel: The Nativity of Christ, Munich, Alte Pinakothek (No. 706)

1550 × 1270 × 14 mm

Sample 550. Vertical grain. Good condition. Eight vertical strips of filasse. Double dovetail dowels. Cradled panel. A layer of red paint covers the surface. (The wings were not examined due to the impossibility of taking a sample of the wood from the reverse of the panel.)

Hans von Kulmbach, 1511

1018. The Marquis Casimir of Brandenburg, Munich, Alte Pinakothek (No. 9482)

435 × 317 × 10 mm

Sample 566. Vertical grain. Good condition. Support reinforced with a 5 mm panel. Cradle.

Nuremberg

Hans Sebald Beham, dated 1534

1019. Tabletop: Five Scenes of the History of David, painted on the four sides of the panel, Paris, Musée du Louvre (No. 2701, p. 71. Inv. no. 1033)

1275 × 1333 × 15 mm

Sample 176. The direction of the wood grain matches that of the largest dimension of the panel. Numerous insect channels. Four or five boards. Splits. Wooden strips on the edges of three sides. Apparent assembly of the boards with splines, one of which is visible on the bare edge of the panel. Cradle.

Middle Rhine

Mathis Gothardt-Neithardt, called Grunewald, end of the 15th century

1020–1021. The Issenheim Altarpiece, Colmar, Musée d’Unterlinden (Nos. 40–48), from the hospital chapel of the Antonite monastery of Issenheim

Since the panels of this altarpiece are painted on both sides it was not possible to study the wood or carry out detailed examinations of the construction, except for the following panels:

1020. Christ on the Cross (Nos 40–41)

2500 × 4000 × 10–12 mm

Sample 658. Vertical grain. Very good condition. Five to six boards (?). Probably assembled with glued butt joints. Panel held in the rebate of the original frame. Panel painted on both sides. On the reverse: The Resurrection.

1021. The Virgin with Angels (Nos. 43–44)

2500 × 4000 × 13 mm (thickness at the centre)

Sample 1480. Vertical grain. Very good condition. Panel held in the rebate of the original frame. Panel painted on both sides. On the reverse: The Temptation of St Anthony.

Mathis Gothardt-Neihardt, called Grunewald, 1520–1525

1022. Sts Erasmus and Maurice, Munich, Alte Pinakothek (No. 1044)

2295 × 1765 × 15 mm

Sample 532. Vertical grain. Insect damage. A sheet of plywood protects the reverse of the panel. This is held with a central bar and sits loosely on the surface of the reverse.

Attributed to Mathis Gothardt-Neithardt, called Grünewald, dated 1510

1023. Portrait of a Clergyman, Munich, Alte Pinakothek (No. 10.643)

557 × 417 × 9 mm

Sample 559. Vertical grain. Insect damaged. Panel not reinforced. Two strips of cloth applied vertically separated by a strip of filasse. A black paint is applied on the surface.

Upper Rhine

Martin Schongauer, 15th century

1024. The Birth of Christ, Munich, Alte Pinakothek (No. 1132)

265 × 174 × 4 mm

Sample 481. Vertical grain. Good condition. Panel not reinforced. A black paint covers the surface.

Large part by Martin Schongauer ca. 1460

1025–1026. The Triptych of John d’Orlier: The Annunciation, two wings, Colmar, Musèe d’Unterlinden (Nos. 33–35; 34–36), from the church of the Antonites at Issenheim

1025. The Angel of the Annunciation (No. 33)

1890 × 600 mm (thickness not measurable)

Sample 1478. Vertical grain. Some insect damage. Panel held in the rebate of the original frame. Hinge located on the side. Panel is painted on both sides. On the reverse: The Virgin Adoring the Child (No. 35).

1026. The Virgin of the Annunciation (No. 34)

1880 × 580 mm (thickness not measurable)

Sample 1479. This panel is similar to 1025. On the reverse: St Anthony (No. 36).

School of Martin Schongauer (copy after a burnt Martin Schongauer), 15th century

1027. Christ Appearing to Mary Magdalene: ‘Touch me not’, Strasbourg, Musée des Beaux-Arts (No. 9. Inv. no. 477)

500 × 383 mm (thickness not measurable)

Samples 1404 A, B. Vertical grain. Some insect holes. One board. Panel held in the rebate of the original frame, in fir (sample 1404B). Members of the frame assembled with flat mortise and tenon joints. Frame is insect damaged. Bare wood. Panel not reinforced.

Hans Baldung Grien, ca. 1503–1507

1028. The Knight, the Young Girl and Death, Paris, Musée du Louvre (Inv. no. R.F. 2467), Goldschmidt Collection (Brussels)

356 × 297 × 8 mm (minimal thickness)

Sample 1541. Vertical grain. Some insect holes, in particular on the left part of the panel. Two boards (?). Edges of the panel are bevelled. Wooden strips apparently on the edges of the four sides. Black paint covers the surface.

Hans Baldung Grien, dated 1515

1029. The Marquis Christophe de Baden, Munich, Alte Pinakothek (No. 1407)

470 × 360 × 5 mm

Sample 564. Vertical grain. Good condition. Filasse in the centre of the panel, from bottom to top. A black paint covers the surface.

Hans Baldung Grien, dated 1517

1030. Philip the Warlike, Count Palatine, Munich, Alte Pinakothek (No. 683)

415 × 308 × 7 mm

Sample 556. Vertical grain. Very good condition. Two boards. Panel not reinforced. A black paint covers the surface.

Hans Baldung Grien, dated 1519

1031. Portrait of a Young Man, Strasbourg, Musée des Beaux-Arts (No. 26. Inv. no. 535)

520 × 390 × 5 mm

Sample 1417. Vertical grain. Good condition; some insect damage. One board. Panel not reinforced. A black paint covers the surface.

Hans Baldung Grien, dated 1539

1032. The Virgin of the Vine Trellis, Strasbourg, Musée des Beaux-Arts (No. 29. Inv. no. 536)

592 × 444 × 5 mm

Sample 1418. Vertical grain. Good condition. Two boards. Cradled panel. Black paint covers the surface.

Hans Baldung Grien, 16th century

1033. Female Allegory: Music (hanger to 968), Munich, Alte Pinakothek (No. 1423)

289 × 360 × 9 mm

Sample 563. Vertical grain. Some insect damage. Two boards. Pieces of wood across the splits. Panel not reinforced. A black wood stain covers the surface.

Hans Holbein the Younger, 1523

1034. Portrait of Erasmus, Paris, Musée du Louvre (No. 2715, p. 74. Inv. no. 1345; M.R. 753), Walter Gay Collection

428 × 325 × 4 mm

Sample 281. Vertical grain. Good condition. One or two boards (?). Initials C.P. 35 mm high surmounted by a crown with a cross, carved in the wood, on the upper right corner. The same letters smaller (11 mm in height with a crown but without a cross) are carved in the centre of the panel. Red wax seal. Black paint covers the surface. Support not reinforced.

Master W.S. of the Maltese Cross, dated 1523

1035. Christ Appears before Mary Magdalene: ‘Noli me tangere’, Nancy, Musée des Beaux-Arts (No. 296. Inv. no. 1078)

850 × 590 × 7–8 mm

Sample 602. Horizontal grain. Extensive insect damage. Three boards. Panel not reinforced. Maltese cross painted on the reverse directly onto the wood.

Master W.S. of the Maltese Cross, dated 1535

1036. Christ before Pilate, Strasbourg, Musée des Beaux-Arts (No. 37. Inv. no. 1411)

857 × 542 mm (without frame – thickness not measurable)

Sample 1420. Vertical grain. Extensive insect damage. One board. Panel held in the rebate of the original frame. The surface of the wood shows grooves in some places.

Master W.S. of the Maltese Cross, 16th century

1037. The Beheading of St John the Baptist, Nancy, Musée des Beaux-Arts (No. 293. Inv. no. 121)

868 × 760 × 10 mm

Samples 603, 603A. Vertical grain. Insect channels. Four boards. Softwood cradle. A wood stain covers the surface.

Attributed to Master W. S. of the Maltese Cross, dated 1519

1038. St John the Evangelist, Colmar, Musée d’Unterlinden (No. 98), probably from the House of the Knights of St John in Colmar

1025 × 850 × 10 mm.

Sample 1439. Vertical grain. Extensive insect damage. Large Maltese cross painted in white, on a black background.

Saxony

Lucas Cranach the Elder, beginning of the 16th century

1039. Lucretia, Munich, Alte Pinakothek (No. 691)

1900 × 748 × 10 mm

Sample 523. Vertical grain. Very good condition. Three boards. Cradled panel. A varnish applied to the surface.

Lucas Cranach the Younger, 16th century

1040. Venus and Cupid, Munich, Alte Pinakothek (No. 5465)

1955 × 870 × 8 mm

Sample 522. Vertical grain. Some insect holes. Four boards. Spaces left for double dovetails dowels. Cradled panel. Stained wood.

Genre Cranach, dated 1555

1041. Portrait of a Woman, supposedly representing Frau Melanckton, Nancy, Musée des Beaux-Arts (No. 213. Inv. no. 941)

486 × 367 × 11 mm

Sample 604. Vertical grain. Some insect holes. Two unequal boards. Panel not reinforced. Bare wood.

Saxon School, dated 153. (?)

1042. The Rape of Helen, Nancy, Musée des Beaux-Arts (No. 306. Inv. no. 547)

1030 × 1370 × 28 mm (smallest thickness)

Sample 606. Horizontal grain. Numerous insect holes. Six boards. Oak double dovetail dowels (visual examination) over the joins. Shoulders on the edges of the panel. Five cross-bars and five bars set in and attached.

Swabia

Christoph Amberger, signed, dated 1541

1043. Portrait of Christoph Fugger, Munich, Alte Pinakothek (No. 9409)

970 × 850 × 7 mm

Sample 536. Vertical grain. Very good condition. Four cross-grain cross-bars and upright segments very close together. A light wood stain covers the surface.

Hans Holbein the Elder, ca. 1515

1044. The Altarpiece of St Sebastian, left wing: St Barbara, Munich, Alte Pinakothek (No. 669), probably from the convent of St Catherine in Augsburg

1490 × 460 mm (thickness not measurable)

Sample 572. Vertical grain. Good condition. Image painted on both sides. On the reverse: The Angel of the Annunciation. (The painting on the reverse of the wings prevented examination of the construction of the panels and examination of the wood of the right wing.)

Martin Schaffner, ca. 1529–1530

1045. Portrait of Eitel Hans Besserer 1st of Schnürpflingen, Munich, Alte Pinakothek (No. 9582)

433 × 340 × 4 mm

Sample 557. Vertical grain. Very good condition. Inscription in engraved letters, in the centre of the panel. Support not reinforced. A black wood stain covers the surface.

French School

In the style of Corneille de Lyon, 16th century

1046. Portrait of John de Rieux (?), Paris, Musée du Louvre (No. 1010, p. 281. Inv. no. R.F. 342), Charles Timbal Collection

164 × 136 × 4 mm

Sample 264. Vertical grain. Good condition; some insect channels on the edge of the right side. One board. Softwood cradle. Bare wood.

Paris

Paris School, Franco-Flemish Art, 15th century

1047. Lazarus and the Rich Man, Paris, Musée de Cluny (Inv. no. C.L. 22599), Engel-Gros Collection

390 × 310 × 8 mm (with auxiliary support)

Sample 356. Horizontal grain. Good condition. Auxiliary panel, probably in maple (visual examination), 5 mm thick. Cradle.

Italian School

Italian School, 15th century

1048. Portrait of a Man, Paris, Musée du Louvre (Inv. no. R.F. 1531A)

384 × 290 × 16 mm

Samples 223; 600. Vertical grain. Numerous insect channels. Two cross-grain cross-bars loosely attached. A wax layer covers the surface.

Emilia

1049–1050. Tryptych: central panel; right wing (left wing, see ), Venice, Galleria dell'Accademia (No. 2, p. 10. Inv. no. 576)

1049. Central panel

535 × 230 × 20 mm

Samples 623A; 986. Vertical grain. Good condition; a few insect holes. One board. A layer of green paint covers the surface.

1050. Right wing

535 × 118 × 20 mm

Samples 62B; 987. Vertical grain. Very good condition. One board. A layer of red paint covers the surface.

Ferrara

Garofalo (Benvenuto Tisi), 16th century

1051. The Christ Child Sleeping, Paris, Musée du Louvre (No. 1553, p. 127. Inv. no. 695; M.R. 230)

535 × 398 × 19 mm

Sample 672. Vertical grain. Fairly good condition. One board. Two inset cross-bars. A layer of brown paint covers the surface.

Florence

Lorenzo di Credi, end of the 15th century

1052. Christ as a Gardener appears before Mary Magdalene: ‘Noli me tangere’, Paris, Musée du Louvre (No. 1264, p. 53. Inv. no. M.I. 597)

590 × 438 × 5 mm

Sample 84. Vertical grain. Extensive insect damage; open tunnels on the entire work. One board. Secondary support glued to a central cross-bar.