马格达伦传奇大师圣菲利普和圣查理曼祭坛画 Christ and SaintCharlemagne with donors 伦敦佳士得2016.10 成交价12.5万美元
作品介绍
Since they were first published in the early 20th century,these two altar wings have been recognized as superb works by theanonymous Flemish painter known as the Master of the MagdaleneLegend. The elaborate coats of arms identify the donors as membersof the Clercq Boevekerke and Hannock families. These crests havebeen artfully worked into the composition as if they were physicalobjects occupying the same space as the sitters, alternatelyhanging from tree branches or affixed to architecture. On the rightwing, the kneeling bearded man dressed in a red velvet,ermine-lined robe, is Charles de Clercq. A native of Mechelen, DeClercq was a successful courtier who counted among his titlesCouncilor-Treasurer of War, Treasurer of Finance, and Master of theCourt of Accounts under Charles V. He would later becomeCommissaire general of the kingdom of Naples and, after 1516, theTreasurer-General of the Netherlands at Lille, a position he helduntil his death in 1523. De Clercq was buried in the church ofSaint-Jean in Malines and the biographical details of his life areknown through his epitaph.
Standing behind De Clercq is his patron saint, Charlemagne,who brandishes a sword and holds a model of the Minster of Aix. AsMarc Rudolf de Vrij notes, the presence of Charlemagne may also bemeant as a sign of De Clercq’s allegiance to the Holy Roman Emperor(op. cit., p. 19). Sir Charles’s third wife, Anne Hannock (d.1537), kneels beside him in equally luxurious attire. It was asuccessful marriage: Anne would bear Sir Charles eleven children,many of whom had successful careers at court and in the Church.Anne’s parents, Philip Hannock and his wife, Maria Colinsone, areshown kneeling in prayer on the left wing, protected by SaintPhilip the Apostle. The cross fichée above Maria’s hands indicatesthat hers was a posthumous portrait. Philip Hannock married MarieColinsone in 1480, and after becoming a widower, joined thepriesthood.
马格达伦传奇大师 基督和圣查理曼祭坛画 Christ and SaintCharlemagne with donors 局部
The altarpiece to which these panels originally belonged mayhave been commissioned to commemorate the wedding of De Clercq andAnne Hannock in 1509, an event which must serve as a terminus postquem for their creation. The style of the sitters’ clothing,however, indicates a slightly later date of around 1520 (J. Tombu,op. cit., p. 274). For these reasons, de Vrij concludes that thepanels should be dated to between 1516 and 1523, essentially thesame period as the creation of the now-dismantled and dispersedpolyptych of the Legend of Saint Mary Magdalene after which theartist is named. Given that Philip Hannock is shown dressed as alayman rather than a man of the cloth, the commission must alsohave predated his ordination. The compositional arrangement of thefigures and their patron saints reflects the influence of Hugo vander Goes, particularly his Portinari Altarpiece of c. 1475 (Uffizi,Florence). When the Newark panels were in the Michael Friedsamcollection around 1917, they still were joined with their paintedexteriors. Executed in grisaille, the versos of the shuttersrepresent a harrowing Ecce Homo scene that recalls the work ofHieronymus Bosch both iconographically and stylistically (presentlocation unknown, last recorded with Dowdeswell’s Gallery, see RKDnos. 49529-30). The central panel is unrecorded, but likely wouldhave represented a Nativity or Adoration scene.
Please note that the title of this painting should reflectthat the standing figure behind Philip Hannock and Maria Colinsoneis St. Philip and not Christ.
马格达伦传奇大师 基督和圣查理曼祭坛画 Christ and SaintCharlemagne with donors 局部
参考译文
自从在20世纪初首次出版以来，这两个祭坛的两翼被认可为匿名佛兰芒画家马格达伦传奇大师的精湛作品。精心制作的徽章将捐赠者确定为克莱尔·博耶夫克尔克和汉诺克家族的成员。这些波峰巧妙地融入到构图中，好像它们是与保持者占据相同空间的物理对象，交替地悬挂在树枝上或贴在建筑物上。在右翼，跪着的虬髯男子穿着红色天鹅绒，貂皮衬里的长袍，是查尔斯·德·克拉克。德·克拉克是土生土长的梅赫伦人，是一位成功的朝臣，他的头衔是战争财务主管，财政大臣，查理五世宫廷财务主管。他后来成为那不勒斯王国的总干事，1516之后，他在里尔担任荷兰的司库长，直到1523年。德克拉克被埋葬在梅赫伦的圣约翰教堂，他的生活传记细节通过他的墓志铭而闻名。
站在德克拉克后面的是他的守护神查理曼，他拿着剑并保持着Aix大臣的姿势。正如马克·鲁道夫·德弗里指出的那样，查理曼的存在也可能意味着德克拉克对神圣罗马帝国皇帝的忠诚（同上，第19页）。查尔斯爵士的第三任妻子安妮·汉诺克（1537年）穿着同样奢华的服装跪在他身边。这是一次成功的婚姻：安妮抚育了查尔斯爵士的十一个孩子，其中不少孩子在宫廷和教会中都有成功的职业生涯。安妮的父母菲利普·汉诺克和他的妻子玛丽亚·科林森在左翼跪拜，受使徒圣菲利普的保护。玛丽亚手上的十字架表示她的画像是一幅遗作。菲利普·汉诺克于1480年与玛丽亚·科林森结婚，在成为鳏夫后，加入了祭司职位。
这些面板最初所属的祭坛可能是为了纪念德克拉克和安妮·汉诺克在1509年举行的婚礼，这个活动必须作为他们创作的后座。然而，情人服装的风格表明日期约为1520年（J.Tombu，同前，第274页）。出于这些原因，德弗里得出结论，这些画的创作日期应该在1516年至1523年之间，与创作现在拆除和分散的《玛格达伦》（TheMagdalen，英国伦敦国家美术馆）的被命名的艺术家的多边形基本相同。鉴于菲利普·汉诺克穿着打扮成外行而不是牧师，委托也必须早于他的圣职任命。人物及其守护神的构图安排反映了雨果·凡·德·古斯（Hugovan derGoes）的影响，特别是他的1475年波尔蒂纳里祭坛画（佛罗伦萨，乌菲齐美术馆）。当纽瓦克面板在1917年左右进入迈克尔·弗里德萨姆收藏时，他们仍然与他们的彩绘外墙相连。在浮雕式灰色装饰画的创作中，百叶窗的反面代表了一个令人痛苦的《看这个人》的场景，它让人想起起耶罗尼米斯·博斯（HieronymusBosch）在图像和风格上的作品（现在的位置未知，最后收藏记录是道兹韦尔画廊，见RKD编号49529-30）。中央面板未被记录，但可能代表耶稣诞生或崇拜场景。
请注意，这幅画的标题应该反映出菲利普·汉诺克和玛利亚·柯林松背后的身影是圣菲利普，而不是基督。
作品细节
马格达伦传奇大师 基督和圣查理曼祭坛画 Christ and SaintCharlemagne with donors 左翼马格达伦传奇大师 基督和圣查理曼祭坛画 Christ and SaintCharlemagne with donors 右翼马格达伦传奇大师 基督和圣查理曼祭坛画 Christ and SaintCharlemagne with donors 局部马格达伦传奇大师 基督和圣查理曼祭坛画 Christ and SaintCharlemagne with donors 局部马格达伦传奇大师 基督和圣查理曼祭坛画 Christ and SaintCharlemagne with donors 局部马格达伦传奇大师 基督和圣查理曼祭坛画 Christ and SaintCharlemagne with donors 局部马格达伦传奇大师 基督和圣查理曼祭坛画 Christ and SaintCharlemagne with donors 局部 马格达伦传奇大师圣菲利普和圣查理曼祭坛画 Christ and SaintCharlemagne with donors 局部
画家简介
马格达伦传奇大师（Master of the MagdalenLegend，约活跃于1483-1527）是文艺复兴早期荷兰尼德兰画家。“马格达伦传奇大师”是他的便利之名（Notname，对于身份不明的艺术家使用的通用名称），这个名字源于一个分散的大型祭坛画，里面有圣玛丽抹大拉（MaryMagdalene）的生活场景，根据肖像的服装，其历史可以追溯到1515年至1520年。然而，归于他的其他作品极难确定。许多画作都与三联画（Triptych）有关，这被认为是艺术家职业生涯的最后阶段。其他主要作品包括伦敦国家美术馆的两幅《玛格达伦》（Magdalen）橡木板油画。
不要把他和曼西·马格达伦大师 （Master of the MansiMagdalen，安特卫普，1515-1525）或马格达伦大师（ MagdalenMaster，佛罗伦萨，1265-1290）相混淆。马格达伦传奇大师的一些肖像画表明他可能与布鲁塞尔的艺术家有联系，而且他被认为在那里工作，并领导了一个大型工作室。早期的影响似乎是罗吉尔·凡·德尔·维登（Rogiervan der Weyden，1399/1400-1464）; 他的作品也与伯纳德·范·奥利（Bernard vanOrley，1487/1491-1541)的作品具有共同特征，并与圣母死亡大师( Master of the Death of theVirgin,活跃于1507-1537)有联系。像伯纳德·范·奥利，这位艺术家被认为是一直活跃在宫廷的哈布斯堡王朝的马格丽特大公。基于风格、时间和地点的相似性，马格达伦传奇大师可能与荷兰画家彼得·范.科宁克斯洛（Pietervan Coninxloo，约1460-1513）有关。许多艺术史学家，包括马克斯·弗里德尔德（MaxFriedländer），他们首先将这些作品归于马格达伦传奇大师的作品，他们推测他们可能是同一个人。
作品资料
The Master of the Legend of Saint Mary Magdalene (activeBrussels, c. 1490-c. 1526)
Two wings from an altarpiece: A portrait of the donors PhilipHannock and Maria Colinsone with Christ; and A portrait of thedonors Charles de Clercq and Anne Hannock with SaintCharlemagne
Price realised USD 125,000
Estimate USD 150,000 - USD 250,000
SALE 12109
Old Masters
New York|26 October 2016 Browse Sale
LOT 62
The Master of the Legend of Saint Mary Magdalene (activeBrussels, c. 1490-c. 1526)
Two wings from an altarpiece: A portrait of the donors PhilipHannock and Maria Colinsone with Christ; and A portrait of thedonors Charles de Clercq and Anne Hannock with SaintCharlemagne
oil on panel
35 x 19 ¼ in. (88.9 x 48.9 cm.) each
(2)a pair
Provenance
Private collection, London.
with Captain Robert Langton Douglas, London.
Lippmann.
with Dowdeswell & Dowdeswell, London, 1911.
Michael Friedsam, New York, by 1917.
Mr. Robert Badenhop, by whom donated in 1948 to the NewarkMuseum.
展览历史
F.J. Mather, 'The De Clerck Portraits by the Master of theMagdalen Legend', Art in America, V, no. 3, April 1917, pp.113-117.
J. Tombu, 'Le Maitre de la Légende de Marie-Madeleine',Gazette des Beaux-Arts, VI, 2, November 1929, pp. 273-274.
M.J. Friedländer, Early Netherlandish Painting, Leiden andBrussels, 1975, XII, p. 91, no. 13, pl. 11.
M.R. de Vrij, De Meester van de Magdalena-Legende, Amsterdam,2000, pp. 18-19, fig. 9.
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马格达伦传奇大师圣菲利普和圣查理曼祭坛画 Christ and SaintCharlemagne with donors 伦敦佳士得2016成交价12.5万美元
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