Southern Netherlandish, probably Brussels, late 15th century

John and Judith Adler, United Kingdom;
their sale, Sotheby’s London, 24 February 2005, lot 33

Overall the condition of the wood is good, with some dirt and wear to the surface consistent with age. There are a few minor losses, including the tip of Melchior's proper right thumb and index finger; two of his proper left fingers; the Christ child's proper right thumb and top of his index finger; to some edges of the Virgin's veil; and to some edges of Melchior's drapery. There are also some minor losses to the edges of the ground at the front, and to the crown on the ground. The tips of the fingers on all of the male figures are reattached; Christ's proper left arm is reattached or replaced. There are original open areas to the relief, consistent with the design, and visible in the catalogue photograph. There is stable splitting to the wood consistent with the material, including a slightly open but stable and original vertical split running through the centre of the relief, particularly visible at the back. There are two small later wood reinforcements attached to the back, one to the back of Joseph's proper right shoulder, and one behind the heads of the ox and the ass (both of which may have been reattached). A slightly open but stable split is visible between the ox and the ass, and there is some glue residue visible to the reverse. There is some evidence of past worming, in particular to the back, and to the left side at the Virgin's drapery. There are two later reattachments to the Virgin's drapery towards her back. A later varnish has been applied to the surface of the wood. There is an area of loss to the trough below the oxen. There are very minor scratches and splits, including to the top of Melchior's head. There are reattachments to the horns and ears of the ox. There are a few small metal screws in the back, presumably to reinforce the figures.
"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."

This beautifully executed carving with the Holy Family seems to be indebted to both the sculpture and the paintings of the Southern Netherlands of the 15th century. Showing only Melchior, the oldest of the three Magi, it is likely that the group was originally part of a larger whole - perhaps similar in layout to a well-known relief with the Adoration of the Magi which is in Museum Catharijneconvent in Utrecht (inv. no. BMH 144; Steyaert, op. cit. p. 287). The Utrecht relief has been praised for its originality and psychological characterisations of the protagonists. Although attributed to the Utrecht region, it shows clear influences from the Brussels school.

In the present walnut group, these influences are even more apparent, suggesting the relief is most likely to have been executed in Brussels. The characterful and intricately carved faces, showing an astonishing attention to detail – note, for instance, the crinkles beside Melchior’s eyes and the frown marks on Joseph's forehead – are on a par with some of the most advanced carved altarpieces of the Brabant region. Further comparison with Brussels altarpieces can be seen in the finish of the clothing, particularly of Melchior, whose cloak is adorned with a chain around the neck, an elaborate belt from which a bag is suspended, and a separate collar which is offset by trimmings: similar adornments can be seen on Jan Borman’s famous Altarpiece of Saint George in Brussels, particularly in the figure that bears his signature.

For its composition, however, the present group seems to owe more to Southern Netherlandish painting. The subject of the Adoration of the Magi, frequently encountered in the so-called 'Flemish Primitives', is often depicted in this manner: with the Christ Child perching on the Virgin’s lap, Saint Joseph standing in the background with his hat in his hands, the eldest Magi kneeling in front of Christ with his gift of gold, and the ox and the ass being included in the whole assembly. This type of composition can be seen, for instance, in Rogier van der Weyden’s Adoration in the Alte Pinakothek in Munich (inv. no. WAF 1189, part of the St Columba Altarpiece), or Hans Memling’s version of the Adoration in the Prado in Madrid (inv. no. P01557). Indeed, the influence of Rogier van der Weyden's work, active in Brussels 1430-1461, on sculpture of the same region, has often been acknowledged (van de Velde, op. cit., p. 39). The Virgin Mary in the present carving, with her high forehead, small mouth and straight, thin nose, fits Rogier’s type perfectly. Furthermore, significantly, Memling’s Adoration shows the Virgin with a veil that is partially folded back, revealing her long curly locks underneath – as it does in the present group.

With its apparent influences from both the Brussels school of carving and the paintings of the Southern Netherlands, this group presents an opportunity to acquire a piece of exceptional quality, which shows outstanding attention to detail and intricacy in its carving.

RELATED LITERATURE
Flanders in the Fifteenth Century: Art and Civilization – Catalogue of the Exhibition Masterpieces of Flemish Art: Van Eyck to Bosch, exh. cat. The Detroit Institute of Arts, 1960, pp. 75-82; 141-145; J. W. Steyaert, Late Gothic Sculpture – The Burgundian Netherlands, exh. cat. Museum voor Schone Kunsten, Ghent, 1994, no. 80; C. Van de Velde, ‘La relation entre la sculpture et la peinture à la fin du Moyen-Âge’, in A. Huysmans (ed.) La sculpture des Pays-Bas méridionaux et de la Pricipauté de Liège – Xve et XVIe siècles, exh. cat., Musées royaux d’Art et d’Histoire, Brussels, 1999, pp. 39-44