长度（cm）: Each 75宽度（cm）: 31品相报告: Both works with a slightly soiled painting surface without visible damage. Old restored vertical joint cracks in the centre of the panels, especially in the marginal areas old restored loss of paint. Yellowed varnish. Rubbing in the upper layers of paint due to earlier frinis removal. Smaller losses of paint stabilised over the craquelée, especially in the light areas of the painting. Visible glazing retouching here. Larger overpaintings stand out under UV light mainly in the panel of Daniel. Overall in stable, several times restored condition. VENETIAN SCHOOL2nd half of the 15th centuryTitle: Two Paintings: Saint Catherine of Alexandria and the Prophet Daniel. Technique: Each oil on wood. Measurement: Each 75 x 31cm. Frame: Framed. Provenance:Private ownership, Germany since the 1960s.The two panels show Saint Catherine of Alexandria, recognisable by her cogwheel and martyr's palm, and the prophet Daniel, whose name is revealed by the scroll in his left hand. Each standing on a red porphyry column, the two figures dressed in elegant damask robes are isolated in the room and at the same time receive a vertical thrust. This testifies to a typically Flemish, but also Venetian pictorial structure.The original purpose of the two works is not known: One possibility is that they were once part of an altar, with a figure in the centre, possibly made of wood. It is much more likely, however, that they are two side wings of a small triptych or a polyptych. The latter was produced mainly in the second half of the 15th century in Venice by the Vivarini family and by Michele Giambono.The artist of the two paintings, who is not yet known, can be located in the Venetian school of painting of the late 15th century.The execution of the thick cloaks, ermine and rich brocades, for example, is reminiscent of the works of Alvise Vivarini from the 1480s, which are characterised by strong forms and accentuated volumes caused by the bold contrasts of light and shadow. This painting style, which can also be clearly read in the present works (which were possibly created in Alvise's circle), testifies to the influence of the work of Antonello da Messina, who was active in Venice from 1475.