Lot and his daughters

- beech

- three horizontally aligned and butt-joined planks, widths (recto, from the top): plank I: 5.4 cm; plank II: 13.9 cm; plank III: 18.3 cm. The upper plank (oak) is an addition, which judging by the quality of the paint work was probably added close to when the painting was created.

- Dendrochronology: the following annual rings were measured: planks I and II: no measurements possible. Plank III: 44 annual rings(1520-1477).

Plank III comes from the same tree as the planks used for the following paintings:

DE_KSVC_M021; DE_smbGG_589 (I,II,III); DE_BStGS_WAF167; DE_KBSB_B60; DE_KBSB_B59; DE_SKK_0109; DE_SMG_SG17;

DE_LmKKO_15-572 (I, III); DE_HLMD_GK73a; US_IMA_2000-344; DE_smbGG_564 (I, II, III); FIN_FNG_S-1994-224; F_MdLP_1180;

DE_KSW_G6 (I, III); US_PMA_739 (II); DE_SWK_6545; AT_KHM_GG883; DE_BStGS_6262 (II, IV); DE_BStGS_6264 (II, IV); NL_EF-MBBR_EF001; US_artic_1938-310

The youngest annual ring is from the year 1524. Generally with beech wood the entire section is used and only the bark is removed, therefore we can assume that the tree was felled in 1524. The wood would then have been seasoned for approximately two years before it was used as a painting support. (Klein 2016).

- chalk ground

[Cat. Coburg 2018, 36]

Identification of wood species: beech wood

Plank I: dating was not possible (oak); plank II: dating was not possible; plank III: 44 annual rings, 1520 - 1477

the youngest annual ring from all the panels from this tree is from 1524; the earlist felling date is therefore 1524; following a two year seasoning period the panel could have been used from 1526.

[Klein report, 03.03.2016]

DESCRIPTION

Tools / Materials:

- dark fluid drawing medium and brush

Type/Ductus:

- sketchy freehand underdrawing; only partially visible

- thin to broader lines, predominately long and unbroken

Function:

- relatively binding for the final painted version; lines delineate contours and describe shapes and features (where visible); no representation of volume

Deviations:

- no apparent alterations made during the painting process

INTERPRETATION

Attribution:

- not possible

[Smith, Sandner, Heydenreich, cda 2012]

Support:

• oak wood addition at the top, attached to a fibreboard consisting of three parts, a pine wood cradle is glued to the reverse.

Varnish:

• the painting has a glossy resin varnish, which was probably applied repeatedly with a brush. Due to the strong fluorescence of this layer only a few relatively new retouches can be identified under UV light.

[Cat. Coburg 2018, 36]

Trimmed along the top edge. Oak additions were attached later.

...an unknown amount was cut off the top [...], a depiction of the destruction of Sodom and Gomorra in the background was probably lost. An addition about 5 cms in width runs horizontally above the eyes of the daughter who is standing.

[Weschenfelder, Exhib. Cat. Coburg 2003, 54]

• additions made of oak wood

[Koepplin, Exhib. Cat. Basel 1974, Bd. 2, No. 460, Fig. 292a]