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Lot Essay
The present unpublished picture is an addition to the oeuvre of the Master of the Prodigal Son, who is named after the picture in the Kunsthistorisches Museum, Vienna, for which see G. Marlier, "L'Atelier du Matre du Fils Prodigue" in Jaarboek Koninklijk Museum voor Schone Kunsten, 1961, p.82, fig.1.
The artist's oeuvre has been assembled by G. Hulin de Loo, followed by G. Ring in "Der Meister des verlorenen Sohnes, Jan Mandyn und Lenaert Kroes" in Jahrbuch fr Kunstwissenschaft, 1923, p.198, who rightly places him in the tradition of Antwerp Mannerism and as a contemporary of Pieter Coecke van Aelst.
Eight versions of the present composition are recorded: 1. in a private collection, Madrid (M. Diaz Padron, "Nuevas pinturas identificadas del Maestro del Hijo Prodigo" in Goya revista de Arte, CLIX, 1980, pp.135/7, ill.); 2. in the Sir Ch. Turner Collection; 3. in the Museo Lzaro Galdiano, Madrid; 4. in the Chanenco Collection no.121, Kiev; 5. in a private collection Barcelona (see for the second till the fifth version M. Diaz Padron, "Algunas tablas del Maestro del Hijo Prodigo en collecciones extranjeras" in Goya revista de Arte, 1989, pp.324/5, figs.5-8); 6. in the Paul Duchein Collection, Montauban, as Circle of Pieter Coecke van Aelst (photograph recorded in the RKD); 7. in the National Museum, Pozan, as Jan Gossaert (photograph recorded in the RKD), 8. offered at a sale in Dorotheum Vienna, 17 October 1995, lot 92, ill., as Cornelis van Cleve.
The present lot was examined under infra-red reflectography on 24 August 1999 by Margreet Wolters of the Stichting Rijksbureau voor Kunsthistorische Documentatie, The Hague. This showed the typical extensive underdrawing of Antwerp Mannerist painting. The lack of pentimenti suggest the familiarity of the painter with the composition.
CCD-computerassembly by Margreet Wolters, (copyright) A. Verburg, Stichting RKD, The Hague
The artist's oeuvre has been assembled by G. Hulin de Loo, followed by G. Ring in "Der Meister des verlorenen Sohnes, Jan Mandyn und Lenaert Kroes" in Jahrbuch fr Kunstwissenschaft, 1923, p.198, who rightly places him in the tradition of Antwerp Mannerism and as a contemporary of Pieter Coecke van Aelst.
Eight versions of the present composition are recorded: 1. in a private collection, Madrid (M. Diaz Padron, "Nuevas pinturas identificadas del Maestro del Hijo Prodigo" in Goya revista de Arte, CLIX, 1980, pp.135/7, ill.); 2. in the Sir Ch. Turner Collection; 3. in the Museo Lzaro Galdiano, Madrid; 4. in the Chanenco Collection no.121, Kiev; 5. in a private collection Barcelona (see for the second till the fifth version M. Diaz Padron, "Algunas tablas del Maestro del Hijo Prodigo en collecciones extranjeras" in Goya revista de Arte, 1989, pp.324/5, figs.5-8); 6. in the Paul Duchein Collection, Montauban, as Circle of Pieter Coecke van Aelst (photograph recorded in the RKD); 7. in the National Museum, Pozan, as Jan Gossaert (photograph recorded in the RKD), 8. offered at a sale in Dorotheum Vienna, 17 October 1995, lot 92, ill., as Cornelis van Cleve.
The present lot was examined under infra-red reflectography on 24 August 1999 by Margreet Wolters of the Stichting Rijksbureau voor Kunsthistorische Documentatie, The Hague. This showed the typical extensive underdrawing of Antwerp Mannerist painting. The lack of pentimenti suggest the familiarity of the painter with the composition.
CCD-computerassembly by Margreet Wolters, (copyright) A. Verburg, Stichting RKD, The Hague