North Netherlandish School, early 16th century

Prof. Emil Wieland-Burckhardt (1876-1960), Basel;
Thence by descent.

The catalogue illustration is rather too red in tone. The triptych appears to be in quite remarkably good condition for a painting of this date and type. The central panel has an old central join and another split or join running parallel to it, both of which have opened slightly and are visible in the catalogue illustration. The central join is held by an old canvas strip afffixed to the reverse. There has been some minimal old paint loss along these, and a few small losses to the Virgin's robes in between them. Apart from this the paint surface is beautifully preserved beneath a layer of old and discoloured varnish. Inspection under ultra violet light reveals little or no later intervention to the main panels and only very minor scattered retouchings to the outer wings. The frame appears original but has been repainted.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Although traditionally associated with the city of Antwerp, the author of this remarkably well-preserved triptych - unseen in public for nearly a century - is perhaps more likely to have plied his trade in the Northern Netherlands at the end of the fifteenth or beginning of the sixteenth centuries. His arrangement of the central panel, for example, recalls that of the same subject by the Master of Delft in a panel today in the Stedelijk Museum 'Het Prinsenhof' in Delft, on loan from the Dienst voor 's Rijks Verspreide Kunstvoorwerpen, The Hague (for which see M.J. Friedländer, Early Netherlandish Painting, vol. X . p. 86, supp. 161, reproduced plate 122).

The depiction of the Mass of Saint Gregory, complete with various symbols of the Passion, appears on the outer wings of other triptychs of similar date, for example another North-Netherlandish altarpiece in the Kunsthistorisches Museum in Vienna ascribed to Jacob Cornelisz. van Amsterdam, or more famously, on the outer wings of Hieronymous Bosch's Triptych with the Adoration of the Kings in the Museo del Prado, Madrid.