Framed leather panel with a scene of the Crucifixion. The design is taken from an engraving by Maarten de Vos.

Embossed gilt leather panel, with a representation of the crucification with Mary, S.John and Mary Magdalene. In the clouds the symbols of the four evangelists are depicted: left the bull and the angel, right: the lion and the eagle.
The panel is mounted on its original wooden panel, with a filling of papier-mache.

Given by Miss Joan Glaisyer

Identical panels in V&A Museum no. 55-1876; Deutsches Ledermuseum, Offenbach am Main, inv.no. 2524; coll Colomer-Munmany, Vic (Sp.), inv.no. C812; Schloss Köpenick, Berlin, inv.no. K 9239b; Musée Episcopal, Vic (Sp.), inv.no. 6045; Musée National de la Renaissance, Ecouen, inv.no. A15062; Rijksmuseum, Amsterdam, inv.no. BK 1994-1; Museum of Leathercraft, Northampton, inv.no. unknown; Church in Somerset. (letter J.W. Waterer 27/02/1973, RP 79/2457). Identical panels from a French private collection and from the Deutsches Tapetenmuseum, Kassel, Germany are illustrated and discussed in Jean-Pierre Fournet, Cuirs Dorées, "Cuirs de Cordoue", un Art Européen (Château de Saint-Remy-en-l'Eau: Editions Monelle Hayot, 2019), p. 151, figs. 240a&b.


E.F. Koldeweij, 'Een schilderij van de koning van Sweden in goutleer', Antiek 23 (1989) no. 9, 482-487, i.e. fig. 3

Attributed to the De Rijsende Son factory of the Van den Heuvel family

This leather panel depicts Christ's crucifixion with Mary Magdalene, Mary the mother of Christ and St John. It would have served, framed, for personal devotion.

The design of this panel was formed by pressing damp, pliable leather over a mould, and enhancing the design with some embossing from the reverse of the panel. Once the design had been worked it was covered with silver leaf (and possibly coloured glazes), giving a beautiful and subtle modelling to low relief. As the technique lends itself to reproduction, it is not surprising that 16 other virtually identical panels have been traced.

W.8&A-1980