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The Annunciation, stained glass panel, after Marten de Vos, Netherlandish, c.1600
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The Annunciation, stained glass panel, after Marten de Vos, Netherlandish, c.1600
Clear glass with brown paint, yellow stain and red, blue and purple enamels
Height: 188mm
Width: 154mm
Width: 154mm
Museum number: SG116
On display: Shakespeare Recess
All spaces are in No. 13 Lincoln's Inn Fields unless identified as in No. 12, Soane's first house.
For tours https://www.soane.org/your-visit
Curatorial note
A young and beautiful Mary is shown seated in an elegant room. Just behind her is a covered table with a closed book lying on the cloth. Near her right foot is a basket with shears and fabric, and in the background is a bed with a canopy and curtains. The angel Gabriel appears from the left holding a lily in his left hand, his right lifted in greeting, and above the Holy Spirit in the form of a dove hovers in a burst of light.
The panel is after Marten de Vos, in an engraving by Cornelius Galle I, printed by Joannes Galle, and Plate 2 from a series entitled 'Vita, Passio et Resurrectio Jesu Christi...' inscribed M. de Vos inuent. Corn. Galle sculpsit. Ioan. Galle excud. Another version of the print is inscribed Cornelis Galle I sailspit Adr. Collaert execud.
The glass painter has placed the Angel closer to the Virgin than in the print and the composition has been cropped somewhat on the left and right. The drawing, especially of Gabriel, is lively. Enamel paint has been applied so as to give shadings within the areas of application, particularly on the floor and Mary’s dress, in the manner of watercolour washes. Another example of this technique can be seen in SC117. Popham dated this panel c.1580, Netherlandish.
The panel is after Marten de Vos, in an engraving by Cornelius Galle I, printed by Joannes Galle, and Plate 2 from a series entitled 'Vita, Passio et Resurrectio Jesu Christi...' inscribed M. de Vos inuent. Corn. Galle sculpsit. Ioan. Galle excud. Another version of the print is inscribed Cornelis Galle I sailspit Adr. Collaert execud.
The glass painter has placed the Angel closer to the Virgin than in the print and the composition has been cropped somewhat on the left and right. The drawing, especially of Gabriel, is lively. Enamel paint has been applied so as to give shadings within the areas of application, particularly on the floor and Mary’s dress, in the manner of watercolour washes. Another example of this technique can be seen in SC117. Popham dated this panel c.1580, Netherlandish.
Literature
A Description of the Residence of Sir John Soane, Architect. Limited edition published privately, London 1835 p. 57: In the window [of the Shakespeare Recess] are ten compartments of ancient Painted Glass, among which are the Annunciation, the Prodigal Son, the Raising of Lazarus, the Last Supper, St Peter, St Paul, St Andrew and St Matthias. Plate XXXII
A. E. Popham’s comments are MS notes in pencil held at Sir John Soane’s Museum, c.1930
F. W. H. Hollstein, Dutch and Flemish etchings, engravings and woodcuts ca. 1450-1700. Amsterdam: Rijksmusem, 1949– IV 66
The New Hollstein, Dutch and Flemish Etchings Engravings and Woodcuts 1450-1700. Rotterdam: Sound and Vision Publishers, 1993– XLIV, XLV 276
Catalogue of the Stained Glass in Sir John Soane's Museum, Special Issue of the Journal of Stained Glass 2004, pp 254-255
A. E. Popham’s comments are MS notes in pencil held at Sir John Soane’s Museum, c.1930
F. W. H. Hollstein, Dutch and Flemish etchings, engravings and woodcuts ca. 1450-1700. Amsterdam: Rijksmusem, 1949– IV 66
The New Hollstein, Dutch and Flemish Etchings Engravings and Woodcuts 1450-1700. Rotterdam: Sound and Vision Publishers, 1993– XLIV, XLV 276
Catalogue of the Stained Glass in Sir John Soane's Museum, Special Issue of the Journal of Stained Glass 2004, pp 254-255
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