It’s possible to date paintings by analysing the wood panels on which they were created. Many Flemish and Northern European works from this era were painted on panels made from oak trees felled in the Baltic region – what is now Northern Poland and the Baltic countries. These vast oak forests supplied much of the wood used across Europe. The timber was transported via trading routes and became the foundation for many masterpieces.  

We’re currently engaging experts to precisely date some of these panels using a technique called dendrochronology. It involves analysing tree rings to determine when the tree was felled. There’s a comprehensive database of tree ring growth patterns spanning centuries. By comparing the tree rings in a panel to this database, experts can pinpoint a date for the wood, often within 10–20 years.  

While this doesn’t tell us the exact year the painting was created – since the wood might have been stored or seasoned before use – it gives us a reliable timeframe. For instance, if a tree was felled around 1580 or 1590, the painting is likely from shortly after that period, certainly before 1600. It’s a fascinating process that connects art to the natural world and the meticulous craftsmanship of the past.  

What’s equally remarkable is the scale and sophistication of the trade network that supplied these materials. Far from using whatever was available, artists and workshops of the time sourced high-quality panels with great care. Flemish cities like Bruges, Antwerp, and Ghent were not only centres of painting but also major trading hubs. Bruges was a thriving port city, though today it lies inland due to centuries of land reclamation.  

Imagining shipments of Baltic oak traveling along the North Sea to Bruges, destined for workshops producing art for local and international clients, highlights the global nature of this trade – even centuries ago. These workshops operated on an impressive scale, churning out countless paintings, only some of which have survived to this day. The craftsmanship and logistical effort involved reflect the remarkable interconnectedness and ambition of the time. 

Our featured painting here is The Entombment of Christ.