Beschreibung:

Property of an Important Private Collection, CaliforniaThe Master of 1518Active in Antwerp in the early 16th CenturyAdoration of the Magi
a triptych, oil on panel, with shaped tops, backed on the reverse in canvascenter panel: 40⅝ by 27¼ in.; 103.2 by 69.2 cm.center panel framed: 46⅛ by 33½ in.; 117.2 by 85.1 cm.left and right panels: 40⅝ by 11¾ in.; 103.2 by 29.8 cm.left and right panels framed: 46 by 17 in.; 116.8 by 43.2 cm. Condition reportThis work has not been recently restored. The three panels are uncradled and stable with very faint bows. Evidence of old cradling that has been removed is visible on the reverse. The central panel is made of at least three vertical boards, whose joins are faintly visible, though not distracting. The painted image overall presents very strongly beneath an old, discolored, and uneven varnish. The paint surface is in overall lovely condition in many areas, and details are well preserved, for example, in the more elaborate costumes of the figures, such as the kneeling figure at center, and in the still life elements. Some of the artist's very typical underdrawing can be seen to the naked eye, and this element is rather remarkable. Some old, retouches have discolored faintly here and there throughout and are visible to the naked eye, for example along the joins, in the costumes of some of the figures, and in the architecture in the right wing, among others. There are a few small, isolated losses to the paint surface, including one in the lower right corner, and a few very small spots in the upper sky.  Inspection under UV reveals a milky varnish, and only a few very small recent retouches are visible here and there. The older retouches do not fluoresce but are visible to the naked eye. This painting would benefit from a sensitive clean and restoration, but can otherwise hang in its present condition.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.ProvenanceAnonymous sale, New York, Sotheby's, 19 May 1995, lot 61;
There acquired.Catalogue noteThis large and impressive triptych is a characteristic work of the Master of 1518, an anonymous Mannerist artist active in Antwerp in the early 16th century. Friedländer was the first to identify this master as the author of an altarpiece depicting the Life of the Virgin in the Marienkirche, Lübeck, dated 1518 on the wings. Some scholars have identified the Master of 1518 as Jan van Dornicke, the father-in-law of Pieter Coecke van Aelst although this identification is not universally accepted. What is certain is that the Master of 1518 freely blended both Italianate and traditional Northern themes, and the works secured to his hand are distinguished by a crisp focus, vivid coloration, a delicate technique, and animated figures. Together, these elements led to notably lively narratives, as visible in the present example.  
The Adoration of the Magi was one of the favored subjects of the Antwerp Mannerists, for it allowed them to indulge in the depiction of rich costumes and elaborate architectural settings. Here, the artist has given himself over fully to the sumptuous vestments, the ornate gifts of the three kings, and the detailed backdrop. Caspar, the eldest of the three Magi, kneels before the Virgin and Child. He is garbed in rich furs and fabrics, adorned with jewels and delicate details. Beyond this figural grouping is Melchior, who wears a striking red hat and looks down upon the scene before him. Balthasar, garbed in white and red, appears on the left wing, while Saint Joseph appears on the right.