(Brussels 1564–1638 Antwerp)
The Adoration of the Magi,
oil on panel, 135.5 x 183 cm, framed

Provenance:
Noble collection, Belgium;
where acquired by the present owner

The present painting is a fine example of the hugely popular compositions by Pieter Breughel II which were in high demand in the Netherlands during sixteenth and seventeenth centuries.

The view with the high horizon allows the artist to accommodate a large crowd of people jostling for position around the Holy Family’s simple shelter, waiting for their turn to pay homage to the Christ Child. The crowd is made up mostly of men, from all ranks and descent, amongst them richly dressed nobles, wearing an exotic variety of hats and costumes. The spectators closest to the central scene are kneeling and have folded their hands in prayer, following the example of the Three Kings. To the left of the stable, a group of soldiers stand out with their polished armour and in the background a group of horsemen are engaged in discussion. To the right of the scene, two dromedaries or camels with their riders are arriving, and in the centre back there is even an elephant approaching along the riverbank. Processions of this kind appear in Adoration scenes from the fifteenth century onwards, giving artists the opportunity to create a lively narrative and to show-off their skills illustrating the exuberant display of varied materials and textures used in the story.

The composition of the present work relates to what appears to have been the prototype, possibly painted by Pieter Brueghel I (circa 1525/30–1569) now conserved in the Musées Royaux des Beaux-Arts de Belgique in Brussels (inv. no. 3929). This version, in tempera on canvas, is accepted as a work of Pieter Brueghel I by the late authority on the Brueghel dynasty, Klaus Ertz, in his publication on Jan Brueghel I (see K. Ertz, Jan Brueghel der Ältere (1568–1625). Kritischer Katalog der Gemälde, Lingen 2008/10, pp. 502–504, fig. 225/2), even though it was rejected as an original work of the artist in his previous publication on Pieter Brueghel II (see K. Ertz, Pieter Brueghel der Jüngere (1564–1637/38). Die Gemälde mit Kritischem Oeuvrekatalog, Lingen 1988/2000, pp. 306-309, fig. 226). Elizabeth Honig includes the Brussels canvas in her complete catalogue on the artist as an autograph work (see E. Honig, Pieter Brueghel the Elder. Complete Catalog, online, Maryland University, 2021). It must be noted that the poor state of the Brussels canvas challenges the attribution of the work.

Regardless of the attribution of the prototype, it was Pieter Brueghel II who distributed this composition with two signed versions on panel. The earliest known version was sold at auction at Sotheby’s, New York (4 June 2009, lot 39) and is signed ‘P. BRVEGHEL’. Pieter Brueghel II already distinguished his works from those of his father by adding an ‘H’ to his signature and would later switch the ‘V’ and ‘E’ from around 1616. Ertz identified the Sotheby’s painting as an authentic work by the artist at the time of Sotheby’s sale and dated the work to before 1616. A second version by Pieter Brueghel II is conserved in the Philadelphia Museum of Art (inv. no. 83–73) and revealed its signature ‘P. BREVGHEL’ after cleaning. Note the difference in spelling, which makes the Philadelphia version the artist’s second interpretation of the composition. Today, the names of all Brueghel family members are written in a uniform way. Ertz mentions furthermore the existence of a drawing of the same subject and composition in a private collection in France (see K. Ertz, ibid., 1988/2000, p. 309, fig. 229). The author is, however, not convinced to attribute the work on paper to Pieter Brueghel II and is uncertain what the exact relation is between the drawing and the two aforementioned signed paintings.

In his catalogue raisonné on Pieter Brueghel II, Klaus Ertz lists 23 versions relating to the present painting (see K. Ertz, ibid., 1988/2000, pp. 306–320, nos. E267–A287). The majority of these versions are painted on canvas with the exception of four panels, of which Ertz attributes three to the hand of ‘Master B’, an artist working in the studio of Pieter Brueghel II. The first one is listed under number A274 (see K. Ertz, ibid., 1988/2000, p. 317) and might formerly have belonged to the Alte Galerie des Steiermärkischen Landesmuseum Joanneum in Graz. This panel was last auctioned as Pieter Baltens (circa 1526/28–1584) at the Palais des Beaux-Arts, Brussels (27 May 1975, lot 158). The attribution to Baltens is questioned by Ertz who bases his opinion on a photograph from a publication from 1969. The second panel, attributed to ‘Master B’ by Ertz, is listed under number A282 (see K. Ertz, ibid., 1988/2000, p. 319), and was recently auctioned as Workshop of Pieter Brueghel II at Christie’s, London (7 July 2022, lot 3). Ertz notes he has seen this panel in the original and praises its quality. The third panel attributed to ‘Master B’ is listed under number A285 (see K. Ertz, ibid., 1988/2000, p. 320) and was part of a private collection in Milan. Ertz notes this third version could be the same as A282. It should also be noted that the author attributes other versions of the same treatment on canvas to ‘Master B’ as well. The present work shows great similarities in painting technique to the three versions by ‘Master B’ on panel and could, therefore, very well be attributed to the same hand.

Pieter Brueghel I’s two sons, Pieter Brueghel II (1564–1638) and Jan Brueghel I (1568–1628), were too young to have been trained by their father, who died in 1569. It remains one of art history’s great mysteries as to who taught the two siblings. It is suggested that the successful miniaturist Mayken Verhulst (circa 1520–1600), the maternal grandmother of the two, who outlived her son-in-law, might have fulfilled the task of teaching her grandsons the principles of painting. At least one painting by Pieter Bruegel I is assumed to have been known to his sons. The work in grisaille entitled Christ and the Woman Taken in Adultery, conserved in The Courtauld Gallery, London (inv. no. P.1978.PG.48), was at one time owned by his younger son, Jan Brueghel I. It is unknown whether there were any further original works by their father in the possession of the brothers Brueghel. In several interpretations of Pieter Brueghel II after his father’s compositions, it seems most likely that the artist based his work on engravings after his father’s work, a common practice at the time. Using this medium, the artist was able to create multiple impressions and spread his father’s legacy.

Technical analysis by Gianluca Poldi:
The work is applied on five oak panels horizontally arranged with its reverse partially cradled.

According to multispectral images the painting is overall quite well preserved with small abrasions and some integrations over the old varnish, mainly along the paneljoins.

IR reflectograms show a thin brush-made underdrawing profiling all the figures, carefully, with a specific style, outlining only the main shapes and folds, and quickly placing the nose, mouth and eyes, the latter with a sort of circle, all in black. No particular changes were detected.

Pigments, examined by means of reflectance spectroscopy, include two types of blue: smalt blue in the sky, in the pale blue water and in many figures, while azurite is preferred in the far hills, in the darker clothes and in the Virgin’s cloak, deep blue. The smalt blue, which almost always alters when used in oil painting, usually discolours, giving rise to beige and brown tones, here instead maintains its colour, a rare and interesting fact, worthy of attention. Lead-tin yellow is also used, as well as vermillion, carmine-type red lake, lead white and ochres.