Follower of Pieter Coecke van Aelst the Elder

Private collection, Barcelona, by 1996 (as Pieter Coecke van der Aelst).

E. Bermejo, 'Pinturas inéditas del siglo XVI: Benson, Pieter Coecke y el maestro del hijo pródigo', in Archivo Español de Arte, no. 275, 1996, pp. 253–62, reproduced p. 254, fig. 6 (as Pieter Coecke van Aelst).

The panel is uncradled. On the reverse can be seen two stabilized splits running vertically down the panel, the first 25 cm. from the right hand margin, the second 33 cm. from the right hand margin. The second split very faintly affects the painted surface on the other side. The paint surface is clean and in good condition. There is a short line of paint beginning to flake in the upper left (2 cm), but otherwise the paint surface is flat and stable. Overall the picture is in good condition, with thick paint strokes still in tact, underdrawing visible, and colours and details preserved. Inspection under ultraviolet light shows two campaigns of retouching. The older appears to be confined to the head of the leftmost Magi, and to the background architecture on the right. The more recent restoration consists of scattered retouchings and restrengthenings throughout, particularly in the sky upper left, and in the drapery lower left. The split visible on the painted side has been repaired and overpainted all the way along. This lot is offered in an original stained wood frame, in very good condition.
"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."

Most probably originally the central panel of a triptych. Bermejo's essay (see Literature) argues for the composition developing out of van Aelst's Adoration of the Magi, now in the Prado (inv. no. 2223), which is itself based on a picture by the artist's father-in-law Jan van Dornicke (circa 1470–1527), now in a private collection, Paris.¹ The main differences to the aforementioned pictures are the bringing of all three Magi into the foreground; the direct contact between the kneeling Magi and the Christ child, and the representation of the Virgin without a veil. Bermejo suggests a date of 1533–35.
1. See under Literature., p. 256, reproduced figs. 7 and 8.