Ecole flamande: L'adoration des mages, huile sur panneau, 16ème siècle

 Work: 89 x 58,5 cm

Frame: 107,5 x 76 cm

The frame with a label referring to Jan Gossaert (1478-1532). Numerous similarities can also be seen with the work of Pieter Coecke van Aelst (1502-1550) and surroundings, see for example 'Adoration of the wise men' by Coecke van Aelst and studio (first half of the 16th C., sold at Servarts Beaux-Arts, Brussels, 29 November 2005, lot 20; link). In our opinion, the work is closely related with the oeuvre of the 'Master of 1518', also not coincidentally the master of Jan Gossaert and Pieter Coecke van Aelst and father-in-law of the latter. The name Master of 1518 is applied to a painter to whom many works from Antwerp in the earlier 16th century have been attributed on stylistic grounds. The date of 1518 is derived from the date inscribed on the painted wings of a carved wooden altarpiece of the Life of the Virgin in St. Mary's Church in Lübeck, Germany. Some of his compositions were later repeated by Pieter Coecke van Aelst, which has resulted in a possible identification of the master with Pieter Coecke's father-in-law, Jan van Dornicke. His paintings are primarily crowded depictions of religious scenes combining Gothic and Renaissance styles. He frequently incorporated elaborate clothing and architectural ruins (link and link). Compare for example with 'The adoration of the kings Melchior and Caspar', about 1520-1530, now attributed to the 'Master of 1518' (Meester van 1518) and Pieter Coecke van Aelst (former attribution: Meester van de Utrechtse Aanbidding), Aachen, Suermondt-Ludwig-Museum, inv. nr. GK 314 (link).

Condition: (UV-checked)

- The painting in general in good and hangable condition.

- Reinforced oak panel (two parts), curved at the top.

- The painting with restorations, executed in different periods of time.

- Retouches, touch-ups and restorations spread across the panel (in an earlier phase there was undoubtedly some flaking paint all-over).

- Most prominent restorations to the figures: the neck and left part of the face of the Madonna and the abdomen and right thigh of Christ.

- The borders with the usual minor damage due to the framing and with accompanying overpaint.