Antwerp School, first half of the 16th century

With Galerie J.O. Leegenhoek, Paris, by whom sold in 1970 to the father of the present collector (as by the Master of 1518).

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 is in lovely condition. It is still in what appears to be its original frame and is well hinged and functional. The reverse is marbleized but unpainted in any serious way. There are horizontal batons which have been attached to the central panel on the reverse. This seems to nicely support the panel and great care has been taken to ensure the stability of these three paintings. In addition to the work on the reverse we do not recommend any further restoration except to address a few recent blemishes, one to the nose of one of the sleeping saints in the left hand panel and a slight flake in the upper right of the central panel. Hardly any retouches have been added that show under ultraviolet light and although some old cracks in the panel have been retouched, one expects that cosmetic retouches have been applied here and there. These pictures are in especially good condition with none of the condition issues that one expects from pictures of this period and an unusual consistency of good condition throughout all three of the panels. The condition is excellent and a small amount of maintenance will present this triptych well.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Although scholars have all agreed upon the high quality of this triptych, none has been able to assign this work, which, in its brilliant color, sense of structure, and exaggerated poses, is typical of Antwerp Mannerism in the first quarter of the 16^th century, to one master.  The difficulty in attributing this work is no doubt due to the artistic climate of Antwerp between 1500 - 1525, where more than two hundred Master painters were active but only slightly more than a handful of them have been identified with certainty.

The present triptych's placement in this milieu is secured by details that also appear in other works of the period.  For example, the facial type of the man at the top of the crucifix in the central panel here, recalls the male faces in paintings by artists such as Adriaen van Overbeke, Jan de Beer, Pseudo Bles, Master of the Antwerp Adoration, and Master of the Von Groote Adoration.    This composition seems to relate most closely in style and composition (particularly in the Entombment in the right wing), to another triptych sold London, Christie's, July 10, 2002, lot 11, for £435,650.¹  That triptych is now in the Museo de Arte de San Paolo, San Paolo, Brazil.

The individuality and creativity that went into the creation of this triptych are emphasized by the extensive underdrawing, which is, in some places, visible to the naked eye.  

1 At the time of the Christie's sale the painting was given to the Master of 1518, although one scholar has since considered it closer to the Master of the Von Groote Adoration.