Door from a cupboard, carved oak, France, 1540-1600

Two carved panels with profile heads (a crowned man on the left, a crowned woman on the right, facing each other) within a joined framework.

Two panels carved in high relief, held in a pegged, mortise-and-tenoned framework, with mitred cyma reversa moulding at the four sight edges. With two cut-outs along the bottom edge for strap hinges (to judge by the fixing holes and shadows) which are now missing. With an iron lock ring nailed mid-way along the top rail. Midway up the left stile, a hole with 'tails' opening on the front of the stile, for a metal staple (missing). Rebates have been cut in the outer faces of the framework: at the back on the sides and bottom edge, and at the front on the top edge.

The left panel shows a roundel containing a man with a crown (with ribbon), wearing a shirt and doublet, facing to the viewer's right. Above the roundel are two cherubs flanking a mask; below the roundel are two conjoined, addorsed grotesque birds. The right panel shows a young woman with a headdress and crown, facing the viewer's left. Above the roundel are two putti supporting a mask superimposed on a cartouche; below the roundel are two addorsed, kneeling putti.

This double panel, and another, similar (798-1895), acquired with it, seem to have been acquired with a dark stain on the front, which was apparently stripped c.1960-80.

This double panel and its companion were both acquired from Emile Peyre of 146 Avenue Malakoff, Paris, at the price of £50 for both - 'French, first half of 16th cent., slightly wormeaten'. They are listed in Peyre's house as no. 243 '2 Cupboard doors with fall-down front, renaissance medallions with heads' in the 'Inventory of the contents rooms [sic] containing that part of Monsieur Peyre's Collection, iron-work and wood-work which he is willing to sell. The rooms are all on the ground floor of the house.' (In Thomas Armstrong's (Director for Art 1881-98) handwriting, numbered 1-329, description and price, arranged by room.) They were located in the ground floor passage (marked A on the plan) leading from the front door towards the rear of the house towards the garden.

Other lists among the Museum's Peyre papers "list of objects from the Peyre collection suggested for Dublin Musuem" and "List of wood and ironwork in the Peyre collection which is proposed to send to the Edinburgh Museum" appears to suggest that two other panels (presumably ensuite) were sent to these two Museums.

Taken from Museum papers MA/1/Plo86/1, nominal file Peyre, Emile.

Emile Peyre (1824-1904) was 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.

Both panels are derived from heads (inscribed MAURI and APOLINA) in an undated engraving by Virgil Solis (1514-62) showing four busts in medallions on a panel with satyrs (Illustrated Bartsch, Solis no.442, Bartsch 297). Michael Bath, in a forthcoming article on the panels suggests that the 'Mauri' figure probably refers to Byzantine Emperor Maurice Tiberius (c.515-602). However there is no known empress Apolina: Maurice married Constantina, daughter of his predecessor, Emperor Tiberius II.

It appears that both double panels formed part of a larger framework (probably a tall cupboard door -one of a pair- with 8 similar panels held on several staple hinges). At some point before 1895 both double panels were sawn out of the framework, rebates were cut on the edges which exposed tenons and mortices, strap hinges and a lock/receiver plate were added so that they functioned as small cupboard doors with the roundel panels turned on their sides.

One (if not both) of the pairs of panels was displayed in room 3 in the years before 1950. 798-1895 was displayed in gallery 48 probably from about 1969 to the mid-1980s.

Northern France/ Loire

These carved panels show profile heads set within medallions, a very popular design motif in the sixteenth and seventeenth centuries. Their use followed the growth of scholarly interest in ancient classical coins and medals. The carvers of these panels copied the heads from an engraving by Virgil Solis of Nuremberg (1514-62), which identifies them as 'MAURI', probably the Byzantine Emperor Maurice Tiberius (c.515-602), and 'APOLINA', whose identity is uncertain. The surrounding cherubs, putti, mask and birds were almost certainly adapted from other sixteenth-century prints. It appears that this double panel, together with another pair (Museum no. 798-1895), formed part of a larger framework, probably from two matching doors to a tall cupboard. At some point before 1895 both double panels with some framework attached were sawn out of the doors and converted to serve as small cupboard doors, with the panels turned on their sides.

The panels formed part of 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 Victoria and Albert Museum in 1900), bought over 300 pieces of furniture and woodwork (as well as sculpture and metalwork) from him, at a total cost of £11,878. 16s. 9d.

799-1895