Polyptych of the Adoration of the Child, Master of the Polyptych of the Annunciation with the Unicorn, medieval painted altar retable, ca. 1470–1490 variously dated c. 1470s–1480s; inscriptions and scholarship suggest funding and work c. 1480–1484, funded by the Prockendorff/Prockendorf family mentions of Johannes/Caspar Prockendorf and absence of a daughter-in-law's coat of arms noted, subject: Adoration of the Child with St. Joseph, likely workshop participation by an apprentice for the wing figures, origin: Wroclaw St. Elizabeth's Church, altar, height 191 cm, width 314 cm, An open wooden altarpiece with carved figures and painted panels is shown against a gray background; the central shrine contains a group of carved, gilded and polychrome statues including a kneeling female figure in a dark robe with gold accents and a standing male figure in a dark garment with gold highlights, flanked by smaller carved figures and decorative gilded tracery above and below; the inner backdrop of ...
Caption

Polyptych of the Adoration of the Child, Master of the Polyptych of the Annunciation with the Unicorn, medieval painted altar retable, ca. 1470–1490 variously dated c. 1470s–1480s; inscriptions and scholarship suggest funding and work c. 1480–1484, funded by the Prockendorff/Prockendorf family mentions of Johannes/Caspar Prockendorf and absence of a daughter-in-law's coat of arms noted, subject: Adoration of the Child with St. Joseph, likely workshop participation by an apprentice for the wing figures, origin: Wroclaw St. Elizabeth's Church, altar, height 191 cm, width 314 cm, An open wooden altarpiece with carved figures and painted panels is shown against a gray background; the central shrine contains a group of carved, gilded and polychrome statues including a kneeling female figure in a dark robe with gold accents and a standing male figure in a dark garment with gold highlights, flanked by smaller carved figures and decorative gilded tracery above and below; the inner backdrop of the shrine shows painted muted tones of brown, beige, and blue suggesting an interior scene; the side wings are painted with standing figures in robes in greens, reds, and muted golds on a greenish background framed by red borders, and the edge panels and inner jambs contain additional small carved figures with gilded details; on top of the structure sit two separate carved statuettes in pale tones with gold and brown accents; overall visible colors include gold, dark brown, black, green, red, beige, blue, and pale flesh tones.

Credit line

Photo12/Liszt Collection

Reference

LZT26A19_067

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