The Pseudo Bles

With P. & D. Colnaghi, London, from whom acquired by the present owner in 1988.

London, Colnaghi's, Gothic to Renaissance, 26 October - 12 November 1988.

J. Howard, 'Early Renaissance Painting' in The Antique Collector, vol. 59, November 1988, pp. 93-104, reproduced on the cover and p. 5. 

The following condition report is provided by Rebecca Gregg who is an external expert and not an employee of Sotheby's. The panel support is in a stable condition. The panel has been partially thinned, dramatically reducing the width across the centre of the reverse with three horizontal areas cut back. The edges have also been thinned. These carved areas have been fitted with multiple blocks of wood, some of which have been attached cross grain. The complex series of blocks appear to have been attached to secure two vertical splits running the length of the panel and the smaller splits along the top right edge (as seen from the front) and three at the lower edge. This system appears excessive and thinning the panel in sections in this manner could be detrimental to the long term stability of the painting. The panel has a slightly concave curve. The paint layers appear in relatively good condition. There are no recent damages or loss and the adhesion between the paint and ground layers and the support appears stable. There are localized areas of lifting paint in the lower corners. These appear stable at present. There are at least two campaigns of over-paint present, the earlier campaign appears to be below the varnish layers and covers larger areas. There is an area of glazing in the sky in the upper left corner; however it is unclear whether this covers abrasion, thinness or discolouration in the original paint layers. There is over-paint present along the two panel joins running vertically in the centre of the panel. In the lower half of the left join the area of retouching widens. The secondary campaign is above the varnish layer and appears to be limited to minor adjustments to the earlier over-paint. The two campaigns are clearly visible in Our Lady's face and in the flesh tones of the Christ child. There is a slightly discoloured fluorescing varnish layer present; with whitish drips on the surface visible under ultra violet examination. The painting was examined in the frame.
"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."

Pseudo-Bles is the name given to a group of stylistically similar paintings that clearly belong to the Antwerp Mannerist School.  The name originates with another Adoration of the Magi, in Munich, Alte Pinakothek, which Friedländer used as the starting point for his grouping, and which then bore a signature: Henricus Blesius F.  When this signature was shown to be false, the soubriquet "Pseudo-Bles" (or "Pseudo-Blesius") came into being. The works grouped under the name Pseudo-Bles incorporate a repertoire of stock devices and motifs all of which lie at the core of what we think of as Antwerp Mannerism, but which are found in other of the Antwerp Mannerist artistic groupings.  In the present picture, for example, the curtain in the stable pulled forward and tacked up is a motif found often in the works of Jan de Beer.¹   

Friedländer thought that the Pseudo-Bles might be a youthful phase of Jan de Beer.  While works given to both share many of the characteristics that define Antwerp Mannerism, there are other traits that are not common to both.  The elongated neck and small head, seen here throughout but in its most extreme form in the figure of the African King, is found in other works given to the Pseudo Bles, but not in the paintings of Jan de Beer.  The tortoise-like head of the elderly kneeling King is found in other works by the Pseudo Bles, including his Adoration in Cambridge, Fitzwilliam Museum; nothing similar is found in the work of De Beer, or any of the other groupings of Antwerp Mannerists.

We are grateful to Peter van den Brink for suggesting that the present panel is by Adriaen van Overbeke.²  This artist, until recently anonymous, was named The Master of the Antwerp Crucifixion by Friedländer, who saw in the works grouped under this name a key hand in the artistic succession of the Pseudo Bles.  More recently, an altarpiece from the group, a Saint Anne of 1513 in Kempen, has been recognised as a key work from the workshop of Adriaen van Overbeke, who is thus now to be identfied as the Antwerp Crucifixion Master.  

1.  As Dan Ewing has kindly pointed out in an email.  
2.  Also via email.