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

HINGES. CLOSING, HANGING AND POSITIONING SYSTEMS AND DEVICES 115 7. Bücken and Steyaert 2013, 30-32. 8. Syfer-d’Olne et al. 2006, 71. 9. Vanaise 1970, 122, quoted from Bücken and Steyaert 2013, 31. 10. Zanzu 1992, 43, quoted from Bücken and Steyaert 2013, 31. 11. De Vos et al. 1983-1984, 106-135. To the ten frames (or panels) with Brussels marks listed above, Véronique Bücken and Griet Steyaert have added another eight (not counting the frames of carved altarpiece) bringing the total number of Brussels marks observed on the frames of independent paintings to 18 cases. 7 The additional works are: Master of the St Catherine Legend, Adoration of the Magi Triptych (Binningen, Heiligkreuzkirche) (fig. 67i); Aert van den Bossche, Adam and Eve (Geneva, Galerie de Jonckheere) (fig. 67j); Master of the Life of Joseph, Zierikzee Triptych (Brussels, Royal Museums of Fine Arts of Belgium, inv. nos. 2405, 4168, 2406) 8 (fig. 67k); entourage of Jan van Coninxlo, St Anne Polyptych (Forest, Church of St Denis) 9 (fig. 67l); attributed to Jan Joest, Triptych of the Seven Sorrows of the Virgin , 1505 (Palencia, Cathedral) (fig. 67m); Anonymous, St Barbara and St Gudula (Private Collection) (fig. 67n); Anonymous, Virgin and Child (Brussels, Royal Museums of Fine Arts of Belgium, inv. no. 8735) (fig. 67o); Master of the Embroidered Foliage Group – Master of the Grog Madonna, Clement VII Triptych (Cagliari, Museo del Duomo) (fig. 67p). 10 In several of these works, the joints in the upper part of the frame are dovetail, a detail which appears to be specific to Brussels woodworking. The marks are generally found at the butt-ends of the horizontal pieces, where it was possible to strike hard without damaging the assemblies. The number of marks may vary. The Triptych of the Virgin and Child attributed to Goossen van der Weyden (Tournai, MFA , no. 2 ) displays no less than seven marks in seven different places (each time at the butt-end of the piece), suggesting that, at least in this case, the mark serves as a quality mark for each individual joint. The placing of the mark on the reverse of the panel has been observed in the Passion Triptych by Bernard van Orley (Bruges, Church of Our Lady). 11