Two fragments of a panel originally painted on both sides, from Telkibánya (?)
c. 1480
Pine, tempera
Vir Dolorum with angel
Inv. 55.58
37.5 x 29 x .4 cm
The panels assigned inventory numbers 55.58, showing the Vir Dolorum with an angel, and 55.59, depicting the Crucifixion, belonged together. Both are slightly trimmed, which is why their identical dimensions are not absolute proof that the two works comprised the recto and verso of a two-sided panel. However, the wood examination that was a part of Dóra Sallay’s research clearly showed that the paintings indeed formed the two sides of a panel that was later sawed in two, with each work then trimmed. Both paintings were affixed to new supports.
The earlier literature is divided on the question of whether the panels originally formed one wing of a diptych.
Provenance:
In 1933 the museum purchased the panels. According to the record, the panel ‘supposedly’ came from the Roman Catholic church of Telkibánya.
Restoration:
Lajos Nikássy, 1933. We have no information on when the panels were sawed apart and trimmed.
Bibliography
Jajczay J.: Az eucharistia a művészetben. In: Tükör VI. 1938, 330. – Jajczay J.: A művészet hódolata az eucharistia előtt. Bp. 1938, 96 kép. – Genthon-1948, 34. – Radocsay-1955b, 455. – Boskovits-Mojzer-Mucsi-1964, 136, 211. – Mucsi-1975, 14, 42. – Cséfalvay-1993, 177-178 (Végh J.). – Sallay Dóra. The Eucharistic Man of Sorrows in Late Medieval Art. Annual CEU, Vol. 6. 2000, Pic.: 53, 61, 73,
The panels assigned inventory numbers 55.58, showing the Vir Dolorum with an angel, and 55.59, depicting the Crucifixion, belonged together. Both are slightly trimmed, which is why their identical dimensions are not absolute proof that the two works comprised the recto and verso of a two-sided panel. However, the wood examination that was a part of Dóra Sallay’s research clearly showed that the paintings indeed formed the two sides of a panel that was later sawed in two, with each work then trimmed. Both paintings were affixed to new supports.
The earlier literature is divided on the question of whether the panels originally formed one wing of a diptych.
Provenance:
In 1933 the museum purchased the panels. According to the record, the panel ‘supposedly’ came from the Roman Catholic church of Telkibánya.
Restoration:
Lajos Nikássy, 1933. We have no information on when the panels were sawed apart and trimmed.
Bibliography
Jajczay J.: Az eucharistia a művészetben. In: Tükör VI. 1938, 330. – Jajczay J.: A művészet hódolata az eucharistia előtt. Bp. 1938, 96 kép. – Genthon-1948, 34. – Radocsay-1955b, 455. – Boskovits-Mojzer-Mucsi-1964, 136, 211. – Mucsi-1975, 14, 42. – Cséfalvay-1993, 177-178 (Végh J.). – Sallay Dóra. The Eucharistic Man of Sorrows in Late Medieval Art. Annual CEU, Vol. 6. 2000, Pic.: 53, 61, 73,
