ATTRIBUÉ À BERNARD VAN ORLEY (1487/1491-1541) ET ATELIER

Продан
€ 18 900
Дата аукционаClassic
15.11.2023 14:30UTC +02:00
Auctioneer
CHRISTIE'S
Место проведения
Франция, Paris
Архив
Аукцион завершен. Ставки на лот больше не принимаются.
Archive
ID 1071539
Лот 8 | ATTRIBUÉ À BERNARD VAN ORLEY (1487/1491-1541) ET ATELIER
ATTRIBUÉ À BERNARD VAN ORLEY (1487⁄1491-1541) ET ATELIER

L'Adoration des mages

huile sur toile

34 x 45,5 cm. (13 3⁄8 x 17.15⁄16 in.)





Provenance

Vente anonyme, Drouot Richelieu, Paris, 18 décembre 1996, lot 4 (comme 'atelier de Bernard van Orley').

Galleria Luigi Caretto, Turin, en 1997 (comme 'Bernaert van Orley') (selon le catalogue d'exposition de 1997, op. cit. infra).

Collection particulière, Italie.



Exhibited

Turin, Galleria Luigi Caretto Dipinti Antichi, Maestri fiamminghi ed olandesi del XVI-XVII secolo. 38a mostra, 6 novembre-8 décembre 1997 (comme 'Bernaert van Orley').



Further details

ATTRIBUTED TO BERNARD VAN ORLEY AND WORKSHOP, THE ADORATION OF THE MAGI, OIL ON PANEL LAID DOWN ON CANVAS

The present painting is a version of the Adoration of the Magi attributed to Bernard van Orley (1487/1491-1541) and his workshop formerly in the collection of John Graver Johnson (1841-1917) and now in the Philadelphia Museum of Art (inv. no. Cat. 400). Max Jakob Friedländer (1867-1958) dates the Philadelphia composition to circa 1522 (M. J. Friedländer, Early Netherlandish Painting, New York-Washington, 1972, VIII, p. 105, no. 105).

It is possible that van Orley, who executed numerous tapestry cartoons, took the inspiration for his depiction of Melchior, Gaspard and Balthasar from Raphael’s Magi in the Adoration from the Scuola Nuova cycle in the Vatican Museums (inv. no. MV.43860.0.0). Van Orley’s figures adopt the same gestures and positions as those of his illustrious predecessor. Commissioned by Pope Leo X (1475-1521) in 1520, the Scuola Nuova cycle, devoted to twelve episodes in the life of Christ, was woven in the Brussels workshop of Pieter van Alest the Younger (c. 1450-c. 1533) between 1524 and 1531. It was probably in this context that van Orley gained access to the preparatory cartoons.
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