School of Northern France, early 16th century
- School of Northern France, early 16th century
- The Presentation of the Virgin
- Oil and gold on panel
Verso: a Pope and a bishop saint, en grisaille
- 76 by 87 cm.; 29 7/8 by 34 1/4 in.
Madame Burgeon, widow of the above, Brussels, 1866;
Her daughter, Madame Brulé-Burgeon, Brussels;
With Galerie de Heuvel, Brussels;
Acquired from the above by Baron Coppée, 19 April 1928;
Thence by descent.
Brussels, Exposition universelle internationale, Cinq siècles d'art, I: Peintures arts anciens bruxellois et sections étrangers, 24 May – 13 October 1935, no. 23 (as Follower of Van der Weyden);
Paris, Musée de l'Orangerie, De Van Eyck à Bruegel, 1935, no. 35 (as Flemish School, late 15th century);
Brussels, Palais des Beaux-Arts, La Société la Peau de l'Ours, 66 tableaux de maîtres anciens, parmi lesquels quelques chefs d'œuvre, August – September 1937, no. 41 (as Flemish School 15th–16th century);
Brussels, Exposition d'Art Ancien, Noël dans l'art ancien, 18 December 1941 – 6 January 1942, no. 1 (as Follower of Van der Weyden);
Tokyo, Tobu Museum of Art, The World of Bruegel. The Coppée Collection and Eleven International Museums, 29 March – 25 June 1995, no. F1 (as Franco–Dutch School).
M. Wilmotte, in the catalogue of the exhibition The World of Bruegel. The Coppée Collection and Eleven International Museums, Tokyo 1995, p. 154, no. F1, reproduced p. 155 (as Franco–Dutch School).
Once given to the following of Rogier van der Weyden in Brussels, and to that of Simon Marmion in Amiens and Valenciennes, more recently both Henri Pauwels and Jacqueline Sonkes have suggested that this panel originated in Northern France in the early sixteenth century. Its author certainly seems to have been aware of current developments in Flemish painting in Brussels in the wake of Van der Weyden, such as the work of the Master of the Van Orsoy altarpiece. This work, however, with its curiously elongated and sometimes misproportioned figures, remains more provincial in character, and very probably reflects a more westerly reflection of these trends. Another example of these cross currents is the triptych of The Deposition in the Fitzwilliam Museum in Cambridge, whose wings depict two episodes from the Life of the Virgin: the Presentation in the Temple (fig. 1) and the Marriage of the Virgin.1 The former wing offers good comparison with the Coppée panel in its strong local colours, awkward perspective and figure types strongly derived from Van der Weyden. The Cambridge triptych has also been thought to be French and specifically Burgundian, but equally has been attributed to the Brussels School, on account of its stylistic connections to the work of the Master of Van Orsoy altarpiece himself.
1. H. Gerson and J. W. Goodison, Fitzwilliam Museum, Cambridge. Catalogue of Paintings. Dutch and Flemish Schools, vol. I, Cambridge 1960, p. 40, no. M25, reproduced plate 20 (as Flemish early 16th century).