Copy of a detail of the Ghent Altarpiece, Angelic Choir, by Hubert and Jan van Eyck in the church of St Bavon, Ghent.

Schultz employed fine watercolour washes to replicate the luminous textures and rich hues of the original panel. Delicate brushwork renders the metallic sheen of gold embroidery, the translucency of silk robes, and the subtle gradations of skin tones. The soft blue background enhances spatial depth, while the precision in facial expressions and fabric folds reflects a commitment to archaeological accuracy over artistic interpretation.

The copy was commissioned by the Arundel Society, a British organization dedicated to preserving artistic heritage through accurate reproductions. Schultz, a Norwegian artist and scholar, worked under strict guidelines to document the altarpiece before potential damage from environmental or political change. The 1871 publication ensured wider access to the work for scholars and collectors in Europe and Britain.

In the mid-19th century, European institutions sought to document medieval art before industrialization and restoration altered original surfaces. The Ghent Altarpiece, though revered, was vulnerable to neglect and political upheaval. Schultz’s watercolour emerged from this wave of scholarly preservation, offering a detailed visual archive at a time when colour reproduction technologies were still limited.

Schultz’s copy remains a valuable reference for art historians studying the Ghent Altarpiece’s original appearance, particularly where pigments have faded or surfaces have been altered. Its meticulous execution exemplifies 19th-century academic dedication to documentation, bridging medieval art and modern conservation practices without imposing romanticized interpretation.