Panel
1500-1550 (made)
| Artist/Maker | |
| Place of origin |
Carved panels were used to decorate both fixed woodwork, such as panelled walls or fireplaces, and portable furniture, such as chests or cupboards. A great variety of renaissance designs was used all over northern Europe often in conjunction with traditional linenfold ornament.
To make a panel, usually a single split (or riven) oak board was used, and the shallow carved ornament created using chisels and sometimes a plane. The back of the panel would be left undecorated, and the edges worked all round to form a uniform narrow tongue. These thin edges of the panels were held in grooves cut into the edges of an oak framework jointed together. This method, known as panelling, was relatively lightweight, but also durable since the panels, not needing to be fixed with nails, were unlikely to warp or split.
This panel was formerly in the collection of Emile Peyre (1824-1904), a notable Parisian collector of French medieval and renaissance artefacts. In 1895 the South Kensington Museum (renamed the V&A in 1900), bought over 300 pieces of furniture and woodwork from him, (as well as sculpture and metalwork), at a cost of £11,878. 16s. 9d.
To make a panel, usually a single split (or riven) oak board was used, and the shallow carved ornament created using chisels and sometimes a plane. The back of the panel would be left undecorated, and the edges worked all round to form a uniform narrow tongue. These thin edges of the panels were held in grooves cut into the edges of an oak framework jointed together. This method, known as panelling, was relatively lightweight, but also durable since the panels, not needing to be fixed with nails, were unlikely to warp or split.
This panel was formerly in the collection of Emile Peyre (1824-1904), a notable Parisian collector of French medieval and renaissance artefacts. In 1895 the South Kensington Museum (renamed the V&A in 1900), bought over 300 pieces of furniture and woodwork from him, (as well as sculpture and metalwork), at a cost of £11,878. 16s. 9d.
Object details
| Categories | |
| Object type | |
| Materials and techniques | Oak, carved |
| Brief description | Rectangular panel of carved oak, with an upright design of urns and scrolls |
| Physical description | A rectangular panel of unvarnished oak, the edges chamfered on the front and back face, the front carved with an upright design centreing on an urn. The carving is set within a raised fillet frame, approximately 1.2 cm. wide and does not extend beyond the depth of the fillet. The ornament consists of a ram's head at the base, above which is a horizontal tablet, supporting a gadrooned urn with handles with pendant rectangles, a narrow neck and everted, gadrooned lip with curling 'handles' to either side. From this issues a smaller, squared urn, supporting leafy scrolls and a further tablet. The back of the panel is faced on the PR half with black, glossy paper. Nail holes at the top and bottom of the panel indicate old display fixings. The panel is neither varnished nor polished. |
| Dimensions |
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| Style | |
| Credit line | Given by Emile Peyre |
| Object history | Given by Emile Peyre. In the extensive correspondence relating to the purchase by the Museum of woodwork from M. Peyre, it is recorded that in March 1895 C.P.Clarke negotiated with Peyre to exchange certain items of 'no educational value' for others more desirable. Peyre had resisted the Museum's wishes to pick and choose from the list. Once an agreement had been reached on the items M Peyre presented in addition two carved panels, 895 and 896-1895. |
| Subjects depicted | |
| Summary | Carved panels were used to decorate both fixed woodwork, such as panelled walls or fireplaces, and portable furniture, such as chests or cupboards. A great variety of renaissance designs was used all over northern Europe often in conjunction with traditional linenfold ornament. To make a panel, usually a single split (or riven) oak board was used, and the shallow carved ornament created using chisels and sometimes a plane. The back of the panel would be left undecorated, and the edges worked all round to form a uniform narrow tongue. These thin edges of the panels were held in grooves cut into the edges of an oak framework jointed together. This method, known as panelling, was relatively lightweight, but also durable since the panels, not needing to be fixed with nails, were unlikely to warp or split. This panel was formerly in the collection of Emile Peyre (1824-1904), a notable Parisian collector of French medieval and renaissance artefacts. In 1895 the South Kensington Museum (renamed the V&A in 1900), bought over 300 pieces of furniture and woodwork from him, (as well as sculpture and metalwork), at a cost of £11,878. 16s. 9d. |
| Associated object | 896-1895 (Ensemble) |
| Collection | |
| Accession number | 895-1895 |
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| Record created | November 1, 2007 |
| Record URL |
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