Lot 102: Workshop of Adriaen Isenbrandt , Bruges circa 1485 - 1551 the virgin and child enthroned, attended by angels before an open window, an extensive fluvial landscape beyond oil on panel

oil on panel

measurements note 43.2 by 32.7 cm.; 17 by 12 7/8 in.

London, The New House Gallery, Exhibition of Pictures by Masters of the Flemish & British Schools, 1899-1900, cat. no. 10, as 'Attributed to Gheeraert David'.

Mr Weale, Revue de l'Art Chrêtien, 1900, p. 225 as 'd'un contemporain de Gerard David, qui a fréquemment répeté la même composition en variant les accéssoires';
J. Kronig, Catalogue of the Pictures at Doughty House. Dutch & Flemish Schools, vol. II, 1914, cat. no. 463;
Abridged Catalogue of the Pictures at Doughty House, Richmond Surrey in the collection of Sir Herbert Cook, Bart, 1932, p. 29, cat. no. 463, as Isenbrandt when hanging in The Lobby;
M.J. Friedlander, Die Niederlandische Malerie, 1933, vol.XI, p. 138, no. 196, where listed as Isenbrandt;
M.J. Friedlander, Early Netherlandish Painting, vol.XI, Leyden 1974, p. 90, cat. no. 196, as previously in the collection of Sir H. Cook, present location unknown, and where listed as Isenbrandt.

Sir Francis Cook, 1st Bt. (1817-1901), Doughtly House, by 1900 and thence by descent to Sir Francis Cook, 4th Bt. (1907-78), until at least 1932;
Raphael Rosenberg by 1965 (according to Witt Library mount);
With T. Agnew & Sons, London from whom purchased by the father of the present owner in the early 1960s.

THE PROPERTY OF A GENTLEMAN
The composition loosely derives from Gerard David's Madonna and Child with Music Making Angels of which two versions are known, one in the Louvre, Paris and another in the Philadelphia Museum of Art.υ1 Both the panels by David are more elaborate than the present painting, which was once attributed to David when in the Cook collection. In the former the Virgin is seated in an ornate throne attended by two full length angels and the Christ Child is seated upright reading. Here the composition has been modified and the resultant image is more personal and tender. The figures of the Madonna and Child are larger than the attendant angels who recede into the background, the ornate throne is absent and Christ is no longer seated upright but painted in a more informal pose leaning over to pick grapes from the bunch offered by the angel on the left. 1. See H.J. Van Miegroet, Gerard David, Antwerp 1989, pp. 280,281, 305, nos. 9 and 40.