View full screen - View 1 of Lot 1. Adoration of the Magi.
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The Master of 1518

Adoration of the Magi

Estimate:

150,000

to
- 200,000 USD

Property from the Albright-Knox Art Gallery

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The Master of 1518

The Master of 1518

Adoration of the Magi

Adoration of the Magi

Estimate:

150,000

to
- 200,000 USD

Lot sold:

163,800

USD

Property from the Albright-Knox Art Gallery

The Master of 1518

Antwerp, active circa 1518

Adoration of the Magi


a pair, both oil on oak panel, framed as one

each: 17 7/8 by 13 1/2 in.; 45.6 by 34.5 cm. 

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The following condition report has been provided by Karen Thomas of Thomas Art Conservation LLC., 119 West 23rd Street, Suite 400, New York, NY 10011, 212-564-4024, info@thomasartconservation.com, an independent restorer who is not an employee of Sotheby's.


This pair of panels is in very good condition overall, and the paint layers remain in an excellent state of preservation despite repeated structural interventions over time. The only area with notable restoration is the Christ child, where wear to the modeling of flesh tones allows the underdrawing to be more visually prominent than it would originally have appeared. The retouching has darkened slightly in this area. Based on the state of the paint layers and the appearance under ultraviolet illumination, more recent cleaning has been very sensitively carried out, leaving the paints free of wear. Precise retouching addresses scattered pinpoint losses, visually disruptive aging cracks, minor losses around the extreme perimeters of the images, and a moderate sized loss along the right edge that crosses into Mary's hand and the white cloth. In some of the thinly painted dark brown passages, newer pinpoint losses are visible. The texture of the wood grain is fairly prominent, in part due to the gloss of the varnish.


The varnish is clear and even, with a glossy and slightly textured surface.

The format of the panels has been altered in the past (see lot notes), leaving curved corners at the top edges, and both supports appear to have been cut down at the top. The panels have been thinned, and thick yet lightweight balsa and pine secondary supports adhered to the reverse.

Corrective retouching to the child could be considered, but otherwise these two pictures can be displayed in their current state.


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.

Edward, First Earl of Ellenborough (1790-1871), London;
By whose Estate sold, London, Christie's, 8 May 1908, lot 135, to Nicholson (as Barend van Orley);
With Kleinberger Galleries, New York;
From whom acquired by Dr. John E. Stillwell, New York;
His sale, New York, Anderson Galleries, 1 December 1927, lot 190 (as Barend van Orley);
There acquired by Kleinberger Galleries, New York, for $4,400;
From whom acquired 4 December 1927.

A.C. Ritchie, Catalogue of the Paintings and Sculpture in the Permanent Collection, Buffalo 1949, pp. 62-63, 191, cat. no. 28, reproduced (as Master of 1518);

M.J. Friedländer, Early Netherlandish Painting: The Antwerp Mannerists, Adriaen Ysenbrandt, vol. XI, Leiden-Brussels 1974, p. 75, cat. no. 73, reproduced plate 76 (as Master of 1518).

New York, Kleinberger Galleries, Loan Exhibition of Flemish Primitives, October - November 1929, no. 32 (lent by Buffalo Fine Arts Academy, as Bernard van Orley).