Jan van Dornicke, formerly known as "The Master of 1518"

Probably Robert Finck, Brussels;
H. Barcilon, Paris;
From whom acquired by the present owner.

G. Marlier, La Renaissance flamande: Pierre Coeck D'Alost, Brussels 1966, pp. 136-138, reproduced fig. 62.

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com , an independent restorer who is not an employee of Sotheby's. This triptych has been restored, probably fairly recently, and if the varnish were to be freshened and attended to, the picture should be hung as is. The frame and the general structure of the piece are generally sound. There is no noticeable instability to the piece and the panels are all extremely healthy. The reverse of each panel has been cradled, but these cradles seem to be well constructed and are supporting the panels nicely. All three paintings are in lovely state with relation to the general condition of the surface and the retouching. In the panel on the right there is a vertical crack running through the sky and the face of Joseph which has been safely glued and retouched. In the center panel there are no significant areas of restoration, except possibly in the face of the kneeling king in front of the child, where some abrasion or thinness has been attended to. Elsewhere in this largest panel the condition is very healthy. In the panel on the left the face of the Madonna has been retouched also addressing some transparency to the pigment, but the remainder of the panel is also very healthy. Overall, although there are some retouches, as is to be expected, they have been nicely applied and this triptych is in very healthy condition.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

Jan van Dornicke, sometimes alternately refered to as Jan Mertens the Younger, is thought to be the given name of the artist first identified as the Master of 1518 by Friedlander in 1915.  One of the Antwerp Mannerists, a group of largely anonymous artists active in Antwerp at the beginning of the 16^th century who freely blended both Italianate and more traditional Northern themes, Friedlander noted the Master using the date inscribed on the painted wings of a carved wooden altarpiece depicting the Life of the Virgin in the Marienkirche, Lübeck, and grouped a body of work around this altarpiece based on their stylistic similarities to it.  In addition to the crisp focus, lively narratives and animated figures characteristic of the Antwerp Mannerists as a group, the Master of 1518's work is characterized by its vivid coloration, sense of structure and delicate style. 

Jan van Dornicke was the father-in-law, and likely also the teacher of Pieter Coecke van Aelst (1502-1550), who married Dornicke's daughter Anna before 1526.  It is Coecke van Aelst's work that allows for the association of Dornicke with the Master of 1518, as he seems to have borrowed a number of compositions, including the present version of the Adoration, from his father-in-law.  Since Friedlander's first identification, the connection of Dornicke with the Master of 1518 has gained scholarly traction, and Marlier published the present work in 1966 as by "Jan van Dornicke (Maître de 1518)," (see lit.). 

The central panel of the present triptych depicts one of the favorite subjects of the Antwerp Mannerists.  The Adoration of the Magi allowed them to indulge in the depiction of rich costumes and elaborate architectural settings, and Dornicke has given himself over fully to the sumptuous vestments and grand gestures of his three kings.  Caspar, who kneels before the Virgin and Child, is represented bald and beardless, his red velvet cape and elaborately gilt sword hilt becoming a focal point of the composition.  Behind him, Melchior doffs his hat and proffers his gift of gold, while Balthasar stands in an exaggerated contraposto stance.  Dressed in white silk, gilt armor, jewels and a magnificent red hat, he resembles a fantastically draped statue.  The humble setting of the manger has been replaced by an architectural setting, complete with engaged columns, marble tile floor and a velvet and brocade covered throne.  These same themes are continued in the wings of the triptych, with the Nativity pictured on the left and Flight into Egypt on the right.  The carving on the column in the Nativity and the painted fresco occupying the area around the arches above it, are indicative of the Italian influences in Dornicke's work, while the depiction of the Holy Family actively fleeing, with Mary and the Child astride their donkey and Joseph leading them, adds to the narrative content of the scene.