Frames and supports in 15th and 16th-century Southern Netherlandish painting

HINGES. CLOSING, HANGING AND POSITIONING SYSTEMS AND DEVICES 109 2. Coremans 1953, 23. Locks (fig. 62) do not seem to have been in frequent use. Before 1591-1592, a lock was placed on one of the Van Eyck brothers’ altarpieces in Ghent. 2 Fig. 61. a-b. Metal hooks, with one end forged with a decorative pattern: a. Hans Memling, Reins Triptych , 1480 (Bruges, SJH , no. 4) ; b. Triptych of the Holy Women at the Tomb , 1564-1645 (Bruges, OLPM , no. 5 ). c. Hook placed on the upper narrow side of the frame. Adriaen Isenbrant (workshop), Triptych of the Descent from the Cross , 1520 (Bruges, OLPM , no. 2 ). d. Swivel hook on a diptych. Master of the Female Half-Lengths, St Peter and St Paul , first half of 16th century (Antwerp, Mayer van den Bergh Museum, inv. no. 369). e. Bolt, which could be pivoted to insert it into the base. Master of the St Catherine Legend, Triptych of the Last Supper , second half 15th century (Bruges, GS , no. 1 ). Fig. 62. Locks of various models and mechanisms. a. Hans Memling, Jan Floreins Triptych , 1479 (Bruges, SJH , no. 2 ); b. Ghent Anonymous, Wenemaer Altarpiece , c. 1480 (Ghent, MFA , no. 1 ); c. Josse van der Baren, Triptych of St Ivo , 1607 (Leuven, SP , no. 3) . a c d b e a b c