Terms and conditions of use
Carved retable of the Passion of Christ
(c. 1511-1520)
Medium
carved and polychromed wood, oil paint, wood
Measurements
202.0 × 203.7 cm (overall) (closed) 202.0 × 401.0 cm (overall) (open)
Credit Line
National Gallery of Victoria, Melbourne
Felton Bequest, 1937
Gallery location
16th & 17th Century Gallery - Painting and Sculpture
Mezzanine linked to Level 1, NGV International
About this work
This intricately carved retable was created as an object of religious devotion, possibly for the chapel of a religious order in Tongeren in Belgium. Altarpieces such as this could be made to order or be supplied ‘off the shelf’ by workshops. This example can be traced to Antwerp because it carries the stamp (a hand and castle) of the Antwerp guild of St Luke. Its overall theme is the life of Christ, with the Annunciation, Nativity, Pieta, Adoration of the Magi and Circumcision represented by the small-scale carved scenes in the lower section. The large carved scenes depict the Passion – incorporating the Carrying of the Cross, the Crucifixion and, unusually, the Resurrection.
Frames: Original, Flemish, c. 1511, surface not original
Panels: Transferred from oak to plywood c. 1870–80
Artwork Details
Place/s of Execution
Antwerp, Flanders
Accession Number
3660-D3
Department
International Painting
This digital record has been made available on NGV Collection Online through the generous support of Digitisation Champion Ms Carol Grigor through Metal Manufactures Limited
Subjects (general)
Human Figures Religion and Mythology
Subjects (specific)
Ascension of Christ (New Testament narrative) Crucifixion of Christ (New Testament narrative) gold (colour) Jesus Christ (Christian character) Passion of Christ (New Testament narrative) Pentecost (New Testament narrative) reliefs (sculptures) retables (altar appendage)
Frame
original, Flemish, (c. 1511), surfaces not original
Frame
One of the six frames on the altarpiece carries the impressed hands and castle of the Antwerp guild of St Luke. All six frames on the carved altarpiece are original to the work. Although the surfaces are not original, these are nevertheless the earliest frames by an identifiable source in the collection. The hinges have been replaced, though the recesses for the original fittings remain on the case. These frames, like those used on individual paintings at the time, are directly related to the architectural elements of windows, including the watershed bevel of the bottom edge. Each of the frames has been taken apart to remove the panels, which were transferred to three ply between 1870-1880. This was achieved by removing the dowel pins in the bottom corners and sliding off the lower frame member, the reverse in effect to the original, integrated assembly of the frames and panels. 1
Notes
1 For discussion of the framing of Flemish panels in the 15th and 16th centurys the reader is referred to Cadres et supports dans la peinture flammande aux 15e et 16e siècles. Hélène Verougstraete-Marq et Rogier Van Schoute, Heure-le-Romain, 1989.
Frame Details
Framemaker
Unknown - 16th century
Date
c. 1511
Materials
The basic section for the frame is an ogee and bevel moulding made from oak. The frame is assembled with a half-mitre joint at the top and through mortise and tenon at the lower edge, both pinned with oak dowels. The outer surface is painted black, the profiled section at the sight edge is water gilded.
Frame Condition
The frame is over-painted and re-gilded but retains the original disposition of surfaces. A window cut through the overpainting reveals three different surfaces, including simulated wood grain, over the original warm, black paint layer. The original gilding and preparation appear to have been removed prior to the current gilding.
Dimensions
116.0 x 50.0 x 4.0 cm; sight 104.5 x 39.0 cm