huile sur panneau de l’Ecole Anversoise vers 1930. Provenance : Collection privée, Gand Belgique. Dimensions : 67 x 55 cm La Vierge au visage ovale est assise avec à ses côtés Jésus debout, jouant avec Saint-Jean-Baptiste. Un diadème aux perles descendant jusqu’au front, elle est richement vêtue comme aimait la représenter le Maître, faisant référence aux aristocrates de la Cour d’Autriche-Hongrie. Nous découvrons à l’avant-plan un bouquet de fleurs, des fruits, un livre et un petit mouton sur un entablement et à l’arrière-plan, sept différentes scènes avec des personnages. ————– Virgin and Child and Saint John the Baptist, circa 1530 Oil on panel 67 x 55 cm, antwerp school around 1930. Provenance: Private collection, Ghent Belgium The Virgin with the oval face is seated with Jesus standing by her side, playing with Saint John the Baptist. A pearl tiara down to the forehead, she is richly dressed as the Master liked to represent her, referring to the aristocrats of the Court of Austria-Hungary. We discover in the foreground a bouquet of flowers, fruit, a book and a small sheep on an entablature and in the background, seven different scenes with figures. Painter of religious figures and compositions, this Antwerp master during the first half of the 16th century and who remained anonymous for a long time, was thus designated by M. J. Friedländer because of the parrot which, without having signature value, appears on some of his paintings of Madonna. and with which the Child plays. In 2017, he will be identified as Cornelis Bazelaere, mentioned in the Guild of Antwerp in 1523. His representations of the Virgin and Child and of Saint Magdalene, depicted in the guise of young aristocrats, dressed in the fashion of around 1530, bring him mainly closer to his contemporary, the Master of Half-Figures, with whose highly style mannerism and mode of production are sometimes confused, and more rarely the figures of Pieter Coeck d’Alost, both being followers of Joos van Clève. The type of the Virgin, the oval of her face, the expression of her features, the slender fingers as well as the elongated body of the Child are common to the two artists who never ceased to pay a disguised homage to the ideal and sensitive grace of the noble women of the court of Margaret of Austria and Mary of Hungary.
huile sur panneau de l’Ecole Anversoise vers 1930. Provenance : Collection privée, Gand Belgique. Dimensions : 67 x 55 cm La Vierge au visage ovale est assise avec à ses côtés Jésus debout, jouant avec Saint-Jean-Baptiste. Un diadème aux perles descendant jusqu’au front, elle est richement vêtue comme aimait la représenter le Maître, faisant référence aux aristocrates de la Cour d’Autriche-Hongrie. Nous découvrons à l’avant-plan un bouquet de fleurs, des fruits, un livre et un petit mouton sur un entablement et à l’arrière-plan, sept différentes scènes avec des personnages. ————– Virgin and Child and Saint John the Baptist, circa 1530 Oil on panel 67 x 55 cm, antwerp school around 1930. Provenance: Private collection, Ghent Belgium The Virgin with the oval face is seated with Jesus standing by her side, playing with Saint John the Baptist. A pearl tiara down to the forehead, she is richly dressed as the Master liked to represent her, referring to the aristocrats of the Court of Austria-Hungary. We discover in the foreground a bouquet of flowers, fruit, a book and a small sheep on an entablature and in the background, seven different scenes with figures. Painter of religious figures and compositions, this Antwerp master during the first half of the 16th century and who remained anonymous for a long time, was thus designated by M. J. Friedländer because of the parrot which, without having signature value, appears on some of his paintings of Madonna. and with which the Child plays. In 2017, he will be identified as Cornelis Bazelaere, mentioned in the Guild of Antwerp in 1523. His representations of the Virgin and Child and of Saint Magdalene, depicted in the guise of young aristocrats, dressed in the fashion of around 1530, bring him mainly closer to his contemporary, the Master of Half-Figures, with whose highly style mannerism and mode of production are sometimes confused, and more rarely the figures of Pieter Coeck d’Alost, both being followers of Joos van Clève. The type of the Virgin, the oval of her face, the expression of her features, the slender fingers as well as the elongated body of the Child are common to the two artists who never ceased to pay a disguised homage to the ideal and sensitive grace of the noble women of the court of Margaret of Austria and Mary of Hungary.
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
.jpg "Source: Christie's")
.jpg "Source: Christie's")
