Rechtervleugel van een altaarstuk met de mannaregen

anoniem, ca. 1510 - ca. 1520

Op de rechtervleugel speelt, net als op de linkervleugel, voedsel een centrale rol. Mozes kijkt toe hoe de hongerlijdende Israëlieten het manna (hemels brood) verzamelen, dat God naar beneden liet regenen tijdens de reis door de woestijn naar het beloofde land. Beide oudtestamentische verhalen werden soms geïnterpreteerd als voorafschaduwingen van het Laatste Avondmaal. Waarschijnlijk was dat de scène op het verloren middenstuk van het drieluik.

  • Soort kunstwerkschilderij, zijpaneel
  • ObjectnummerSK-A-867
  • Afmetingendagmaat: hoogte 110,7 cm x breedte 69,5 cm, buitenmaat: hoogte 113,5 cm (incl. lijst) x breedte 82,5 cm (incl. lijst) x dikte 4 cm (incl.lijst), drager: hoogte 102 cm x breedte 71,2 cm
  • Fysieke kenmerkenolieverf op paneel

anonymous

Right Wing of an Altarpiece with the Gathering of Manna (inner wing) and Ecclesia (outer wing)

Antwerp, Low Countries, c. 1510 - c. 1520

Technical notes

The support consists of three vertically grained oak planks (23.8, 25.5 and 21.6 cm), approx. 0.3-0.7 cm thick. The panel is fixed in its current 19th-century frame in such a manner as to render dendrochronology impossible. Both sides of the support are painted. The thick off-white ground is visible through small cracks in the paint layer and along the edges, and was applied when the panel was in the original frame, as there is a barbe and unpainted edges of 0.6-0.7 cm on all sides (painted surface: approx. 101.3 x 69.6 cm) on both the front and reverse of the panel. Infrared reflectography revealed a sketchy underdrawing in a dry medium in the faces, bodies and drapery folds on both sides of the panel. Parallel hatching was used to indicate shadows. In the light areas the underdrawing can be seen with the naked eye. Infrared reflectography also revealed colour notations in the yellow collar (‘gel’) and white garment (‘pv’) of the man kneeling in the foreground. The smoothly applied paint was built up systematically, with medium tones covered by darker glazes in shadow areas and by lighter tones in lighter areas. There are quite a few 'pentimenti', for example in the mountains, the handles of the two baskets and the head of the boy in the foreground. In the grisaille on the reverse the paint layers were built up in a similar fashion, only less elaborately.

Scientific examination and reports

  • condition report: Heemstra (Mauritshuis) , G. van, Mauritshuis, 18 november 1996
  • infrared reflectography: J.R.J. van Asperen de Boer, RKD, AB 1493: 25-37; AB 1494: 1-36A; AB 1495: 1-37; AB 1496: 1-19, 16 augustus 1993
  • paint samples: J.R.J. van Asperen de Boer, Mauritshuis, A 372/1 - A 372/4, 23 september 1993
  • condition report: I. Verslype, RMA, 7 november 2005
  • infrared reflectography: M. Wolters, RKD, 7 november 2005

Condition

Fair. There are deep scratches, which extend into the white ground, in the faces on both sides of the panel and in the host, chalice and hands on the reverse. The painting is abraded, with losses throughout. On the front of the panel there is raised paint in the reds. The losses at the back have not been filled in. The varnish is discoloured.

Conservation

  • W.A. Hopman, 1887: paint layers on the reverse consolidated
  • Pottasch (Mauritshuis) , C., 1992: paint layer consolidated
  • Heemstra (Mauritshuis) , G., november 1996 - februari 1997: Diepe krassen aangebracht tijdens de beeldenstorm aan de achterzijde werden slechts gedeeltelijk geretoucheerd vanwege hun historische waarde. De voorzijde werd volledig geretoucheerd.

Provenance

…; ? property of the Maria Magdalenakerk (Church of St Mary Magdalen), Goes; transferred with SK-A-867 to the Heilige Geest/Holy Spirit Hospital (the former Convent of St Agnes), Goes, 1578-1875;1Dekker 2002, pp. 453-54. …; sale, J.P.C. Baron van Reede van ter Aa en Aasten et al., Amsterdam (C.F. Roos and C.F. Roos Jr), 16 December 1875, nos. 36A and 36B, as Lucas van Leyden (‘A. Un chevalier suivi de ses guerriers, agenouillé devant un évêque qui lui présente une relique. Sur le revers une statue représentant la Foi. B. Le miracle ‘de la manne’ dans le désert. Sur le revers, une jeune femme tenant le St. Sacrement. Hauteur 102, largeur 73 cent. Bois.’), fl. 360, to Boas Berg, for the Nederlandsch Museum voor Geschiedenis en Kunst (inv. nos. NM 2981, 2982);2According to Dekker 2002, pp. 453-54 the paintings were sold in 1875 by the Poor Board of Goes in 1875 at a public sale; according to Inventory NMGK the paintings were the property of the city of Veere. transferred with SK-A-867 to the museum, 1885; on loan with SK-A-867 to the Mauritshuis, The Hague, 1960-2004; on loan with SK-A-867 to the Zeeuws Museum, Middelburg, since 2004

Object number: SK-A-867

The artist

Biography

Anonymous, Antwerp

Entry

See SK-A-866.

Literature

See SK-A-866.

Download Bibliography (PDF)

Collection catalogues

See SK-A-866.

Citation

V. Hoogland, 2010, 'anonymous, Right Wing of an Altarpiece with the Gathering of Manna (inner wing) and Ecclesia (outer wing), Antwerp, c. 1510 - c. 1520', in J.P. Filedt Kok (ed.), Early Netherlandish Paintings, online coll. cat. Amsterdam: https://data.rijksmuseum.nl/20027200

(accessed 8 December 2025 04:46:04).

Footnotes

  • 1Dekker 2002, pp. 453-54.
  • 2According to Dekker 2002, pp. 453-54 the paintings were sold in 1875 by the Poor Board of Goes in 1875 at a public sale; according to Inventory NMGK the paintings were the property of the city of Veere.