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Attributed to Jan Gossart "Mabuse" (Maubeuge, circa 1478 - Antwerp, 1532)
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Description
Attributed to Jan Gossart "Mabuse" (Maubeuge, circa 1478 - Antwerp, 1532)"Virgin and Child (Portrait of Anna van Bergen with her son Hendrik)"Oil on panel. 47.5 x 36 cm.Our hypothesis regarding this painting, of which there are a few copies by Gossart's contemporaries and followers, is that it is the original by Mabuse which belonged to the Marqués de Leganés, registered in the inventory of his collection as number 379 ("Another image of Our Lady with the Child in her arms, holding a handheld rosary by Mabuse, measuring just under half a yard in number three hundred and seventy-nine, valued at twelve hundred Reales"). It was documented for the last time in 1655 and not located since then. The information that supports our hypothesis can be found in the doctoral thesis "El Marqués de Leganés y las Artes" by José Juan Pérez Preciado: "The motif of the rosary in the hands of the Virgin was frequently repeated among Flemish artists of the 15th century. Gossaert used it in a devotional work of which several copies are known. According to Karel van Mander, it was a painting created during Gossaert's service at the court of Adolf de Bourgogne, Marquess of Vere and Teerveuren. The artist used portraits of the nobleman's wife and son. According to Friedländer, the main painting under this iconography that the author created is that of the Metropolitan Museum in New York (inv. 17.190.17 T. 45 x 34). Although others are also preserved in the Royal Museum of Brussels (T. 43.7 x 31; inv. 3377), or in the Dresden Gallery. The fate of the painting is unknown, as it had already left the collection in 1711, when it was claimed by the Count of Altamira, the legal heir to the entire collection. It has not been possible to link any known copy to the work owned by Leganés, although the presence of a copy in the K. Kocherthaler collection in Madrid at the beginning of the 20th century is significant, as Friedländer himself attests."As indicated by the typewritten label on the back, with data from the former owner, it states that it was acquired precisely from the Kuno Kocherthaler collection in Madrid. Therefore, our painting is the one mentioned earlier in the thesis by José Juan Pérez Preciado, which was in Madrid at the beginning of the 20th century and could well be the one belonging to the Marqués de Leganés that has not been located to date.The MET in New York, as mentioned by Preciado, has a Virgin and Child similar to this one in its collections a, painted by a follower of Gossart, with collection number: 17.190.17.The Metropolitan, in its description of the work dating from after 1522, suggests that it may be "a replica of the lost original portrait by Gossart of the noble Anna van Bergen posing with her son Hendrik as the Virgin and Child." The note continues, stating that "portraits in which secular people adopt the appearance of sacred figures may seem provocative to modern sensibilities, but they capture the aspirations of their subjects to emulate the ideals of virtue and piety."As we read in the Museo del Prado's entry on Jan Gossaert, "The signed works that are preserved by Jan Gossaert, known as Mabuse, allude to his origin in Maubeuge, in Hainaut - currently in northern France. Although there is no news of where he was trained, it is possible that he received his education in Bruges, in the workshop of Gérard David (doc. 1484-1523), before 1503 when he enrolled in the Guild of Antwerp. In October 1508, he accompanied Philip of Burgundy to Rome, and during his stay in this city, Gossaert drew ancient statues and architectural monuments for him, becoming the first Flemish painter to directly experience Italian art. Upon returning to Flanders, he introduced classical models into his works, which abound in themes from Antiquity and nudes, such as those he painted in 1516 for Philip of Burgundy in the decoration of the castle of Suytburg in Zeeland, in collaboration with Jacopo de Barbari (ca. 1445-ca. 1515). Simultaneously, Gossaert became interested in 15th-century Flemish painting and copied some artworks, including those of Jan van Eyck (doc. 1422-1441), as he did in this panel at the Prado. His debt to tradition is also evident in his interest in translating the qualities of things, an interest that he maintained even in paintings and drawings of religious or mythological subjects in which classical forms are embodied in human types originating from Flanders (González Mozo, A .: El trazo oculto. Dibujos subyacentes en pinturas de los siglos XV y XVI, Museo Nacional del Prado, 2006, pp. 102-113)."Provenance:Former Kuno Kocherthaler Collection, Madrid. Early 20th century.Private collection.Reference bibliography: - Pérez Preciado, José Juan. (2008). "El Marqués de Leganés y las Artes”. [Tesis de doctorado. Universidad Complutense de Madrid]. Docta Complutense.- Museo del Prado. (s.f.). "Gossaert, Jan". https://www.museodelprado.es/coleccion/artista/gossaert-jan/c0969eda-6fea-4a7c-a868-2b919aa9a01f- Metropolitan Museum of Art. (s.f.). "Virgin and Child". https://www.metmuseum.org/art/collection/search/436539
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Attributed to Jan Gossart "Mabuse" (Maubeuge, circa 1478 - Antwerp, 1532)"Virgin and Child (Portrait of Anna van Bergen with her son Hendrik)"Oil on panel. 47.5 x 36 cm.Our hypothesis regarding this painting, of which there are a few copies by Gossart's contemporaries and followers, is that it is the original by Mabuse which belonged to the Marqués de Leganés, registered in the inventory of his collection as number 379 ("Another image of Our Lady with the Child in her arms, holding a handheld rosary by Mabuse, measuring just under half a yard in number three hundred and seventy-nine, valued at twelve hundred Reales"). It was documented for the last time in 1655 and not located since then. The information that supports our hypothesis can be found in the doctoral thesis "El Marqués de Leganés y las Artes" by José Juan Pérez Preciado: "The motif of the rosary in the hands of the Virgin was frequently repeated among Flemish artists of the 15th century. Gossaert used it in a devotional work of which several copies are known. According to Karel van Mander, it was a painting created during Gossaert's service at the court of Adolf de Bourgogne, Marquess of Vere and Teerveuren. The artist used portraits of the nobleman's wife and son. According to Friedländer, the main painting under this iconography that the author created is that of the Metropolitan Museum in New York (inv. 17.190.17 T. 45 x 34). Although others are also preserved in the Royal Museum of Brussels (T. 43.7 x 31; inv. 3377), or in the Dresden Gallery. The fate of the painting is unknown, as it had already left the collection in 1711, when it was claimed by the Count of Altamira, the legal heir to the entire collection. It has not been possible to link any known copy to the work owned by Leganés, although the presence of a copy in the K. Kocherthaler collection in Madrid at the beginning of the 20th century is significant, as Friedländer himself attests."As indicated by the typewritten label on the back, with data from the former owner, it states that it was acquired precisely from the Kuno Kocherthaler collection in Madrid. Therefore, our painting is the one mentioned earlier in the thesis by José Juan Pérez Preciado, which was in Madrid at the beginning of the 20th century and could well be the one belonging to the Marqués de Leganés that has not been located to date.The MET in New York, as mentioned by Preciado, has a Virgin and Child similar to this one in its collections a, painted by a follower of Gossart, with collection number: 17.190.17.The Metropolitan, in its description of the work dating from after 1522, suggests that it may be "a replica of the lost original portrait by Gossart of the noble Anna van Bergen posing with her son Hendrik as the Virgin and Child." The note continues, stating that "portraits in which secular people adopt the appearance of sacred figures may seem provocative to modern sensibilities, but they capture the aspirations of their subjects to emulate the ideals of virtue and piety."As we read in the Museo del Prado's entry on Jan Gossaert, "The signed works that are preserved by Jan Gossaert, known as Mabuse, allude to his origin in Maubeuge, in Hainaut - currently in northern France. Although there is no news of where he was trained, it is possible that he received his education in Bruges, in the workshop of Gérard David (doc. 1484-1523), before 1503 when he enrolled in the Guild of Antwerp. In October 1508, he accompanied Philip of Burgundy to Rome, and during his stay in this city, Gossaert drew ancient statues and architectural monuments for him, becoming the first Flemish painter to directly experience Italian art. Upon returning to Flanders, he introduced classical models into his works, which abound in themes from Antiquity and nudes, such as those he painted in 1516 for Philip of Burgundy in the decoration of the castle of Suytburg in Zeeland, in collaboration with Jacopo de Barbari (ca. 1445-ca. 1515). Simultaneously, Gossaert became interested in 15th-century Flemish painting and copied some artworks, including those of Jan van Eyck (doc. 1422-1441), as he did in this panel at the Prado. His debt to tradition is also evident in his interest in translating the qualities of things, an interest that he maintained even in paintings and drawings of religious or mythological subjects in which classical forms are embodied in human types originating from Flanders (González Mozo, A .: El trazo oculto. Dibujos subyacentes en pinturas de los siglos XV y XVI, Museo Nacional del Prado, 2006, pp. 102-113)."Provenance:Former Kuno Kocherthaler Collection, Madrid. Early 20th century.Private collection.Reference bibliography: - Pérez Preciado, José Juan. (2008). "El Marqués de Leganés y las Artes”. [Tesis de doctorado. Universidad Complutense de Madrid]. Docta Complutense.- Museo del Prado. (s.f.). "Gossaert, Jan". https://www.museodelprado.es/coleccion/artista/gossaert-jan/c0969eda-6fea-4a7c-a868-2b919aa9a01f- Metropolitan Museum of Art. (s.f.). "Virgin and Child". https://www.metmuseum.org/art/collection/search/436539
Y nos dieron las 100...
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This auction brings us to number 100!
On this special occasion, we present a careful selection of European and New Spanish works, including a previously unpublished painting by Luca Giordano, a magnificent private collection of medieval Spanish sculpture and wonderful examples of painting and sculpture from Spanish America art among other.
We hope you enjoy it as much as we did preparing it.
With our thanks to all those who have made it possible for us to get this far.
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