{
"data": {
"id": 392753,
"accession_number": "2020.228",
"share_license_status": "CC0",
"tombstone": "Coffret with Woodcut of Saint Veronica's Vernicle, Coffret: c. 1515; Woodcut: c. 1509. Woodcuts by Hans Burgkmair the Elder (German, 1473\u20131531). Wood, leather, iron, textile, woodcut with stenciled coloring; overall: 28 x 18.5 x 10 cm (11 x 7 5/16 x 3 15/16 in.); sheet with print: 29 x 19 cm (11 7/16 x 7 1/2 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2020.228",
"current_location": null,
"title": "Coffret with Woodcut of Saint Veronica's Vernicle",
"creation_date": "Coffret: c. 1515; Woodcut: c. 1509",
"creation_date_earliest": 1504,
"creation_date_latest": 1520,
"artists_tags": [
"male"
],
"culture": [
"Coffret: France, probably Paris; Woodcut: Germany, Augsburg"
],
"technique": "Wood, leather, iron, textile, woodcut with stenciled coloring",
"support_materials": [],
"department": "Medieval Art",
"collection": "MED - Gothic",
"type": "Print",
"measurements": "Overall: 28 x 18.5 x 10 cm (11 x 7 5/16 x 3 15/16 in.); Sheet with print: 29 x 19 cm (11 7/16 x 7 1/2 in.)",
"dimensions": {
"overall": {
"height": 0.28,
"height_inch": 11,
"height_inch_fraction": 0.0,
"width": 0.185,
"width_inch": 7,
"width_inch_fraction": 0.3125,
"depth": 0.1,
"depth_inch": 3,
"depth_inch_fraction": 0.9375
},
"sheet with print": {
"height": 0.29,
"height_inch": 11,
"height_inch_fraction": 0.4375,
"width": 0.19,
"width_inch": 7,
"width_inch_fraction": 0.5
}
},
"state_of_the_work": null,
"edition_of_the_work": null,
"copyright": null,
"inscriptions": [
{
"inscription": "SALVE. XPI. EFFIGIES. SACERRI[M]A",
"inscription_translation": "Hail, the Most Sacred Image of Christ",
"inscription_remark": null,
"sortorder": null
}
],
"exhibitions": {
"current": [],
"legacy": []
},
"provenance": [
{
"description": "Andr\u00e9 (b. 1927) and Marie-Th\u00e9r\u00e8se Jammes, Paris France",
"citations": [],
"footnotes": [],
"date": "?-2007",
"sortorder": 1
},
{
"description": "(Pierre Berg\u00e9 & Associates, Paris France, 7 November 2007, lot 28)",
"citations": [],
"footnotes": [],
"date": "2007",
"sortorder": 2
},
{
"description": "(Les Enluminures, Chicago, IL, sold to the Cleveland Museum of Art)",
"citations": [],
"footnotes": [],
"date": "2007-2020",
"sortorder": 3
},
{
"description": "The Cleveland Museum of Art, Cleveland, OH",
"citations": [],
"footnotes": [],
"date": "2020-",
"sortorder": 4
}
],
"find_spot": null,
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"former_accession_numbers": [],
"did_you_know": "A secret compartment on the top lid of this coffer may have held a relic, consecrated host, or valuable document.",
"early_education_description": null,
"artlens_description": null,
"description": "This remarkable object is thought to have functioned as a traveling case to keep small valuables and books, as well as a provisional altar. Made in France around 1515, the interior lid is affixed with a devotional woodcut made in Germany, imported, and colored for the purpose. Featuring an image of the veil of Saint Veronica, the text at the bottom of the woodcut guides the user in prayer to the holy image of Christ\u2019s face which has been miraculously imprinted on the veil, an action that held promise of indulgences (a reduction in one\u2019s punishment for sins). Presumably, the owner carried the box on a journey, retrieved a prayer book from inside, and propped it open in order to practice daily prayers.",
"external_resources": {
"wikidata": [
"https://www.wikidata.org/wiki/Q117244816"
],
"internet_archive": [
"https://archive.org/details/clevelandart-2020.228-coffret-with-woodcut"
]
},
"citations": [
{
"citation": "Pierre Berge\u0301 & associe\u0301s. Vente: collection Marie-The\u0301re\u0300se et Andre\u0301 Jammes - coffrets de messagers, images du Moyen A\u0302ge et traditions populaires. Paris: Pierre Berge\u0301 & associe\u0301s, 2007.",
"page_number": "no. 28",
"url": null
},
{
"citation": "Lepape, Se\u0301verine, Michel Huynh, Caroline Vrand, and Catherine Yvard. Myste\u0301rieux coffrets: estampes au temps de La Dame a\u0300 la Licorne. 2019.",
"page_number": "",
"url": ""
}
],
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"creditline": "Purchase from the J. H. Wade Fund",
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{
"id": 392750,
"description": "Hans Burgkmair the Elder (German, 1473\u20131531)",
"extent": "woodcuts by",
"qualifier": null,
"role": "printed by",
"biography": "German painter, printmaker, and draftsman,1473-1531",
"name_in_original_language": null,
"birth_year": "1473",
"death_year": "1531",
"use_in_caption": true,
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"legal_status": "accessioned",
"accession_date": "2020-09-14T00:00:00-04:00",
"sortable_date": 1504,
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"date_text": "Coffret: c. 1515; Woodcut: c. 1509",
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"conservation_statement": "To accompany the faithful traveler and guide them in prayer, this devotional image of Saint Veronica\u2014whose name means true image (vera icon)\u2014was adhered to the inside lid of a small wooden box called a coffret. Carved in relief and in reverse on a single wooden board, the image and letters were printed in black, oil-based ink on laid paper, then hand colored in a palette consistent with early hand-colored prints, including ochre, purple, green, brown, and two red paints. Except for an opaque red, the colors are best described as transparent to semitransparent. Applications vary in thickness, and some retain brushy marks.
Branding these early color woodcuts as inexpensive and mass produced by less skilled illuminators (Briefmalers) owes much to the technique and quality of the hand coloring. Colors were often applied using stencils, ostensibly a faster and less precise method than freehand application. Stencil technique is evident in this print and the overall laxity in execution and outcome\u2014essentially coloring outside the lines\u2014supports the premise of hasty production for wide distribution at low cost.
In the green, opaque red, brown, and purple colors, stencil application is readily apparent by the generalized shapes, imprecise placement, and abrupt edges associated with these hues. In the niche behind Saint Veronica, a transparent red color fills in a more intricate negative space\u2014as opposed to defining a simple positive shape\u2014and accordingly it reads differently. Also distinct to this passage are lap lines showing how the color was applied in overlapping segments. These lap lines radiate nearly symmetrically from the back of the saint\u2019s head and may represent an intentional design element, or they may be an artifact of the specific stenciling technique devised for coloring in this more complex area. Stencil application is not obvious for the ochre color because of its lack of shape and edge definition and use in narrower and fussier shapes.",
"has_conservation_images": true,
"cover_accession_number": null,
"is_nazi_era_provenance": false,
"impression": null,
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"is_highlight": false,
"updated_at": "2026-05-29 08:59:00.817000"
}
}