The original support consists of two vertically grained oak planks (20.3 and 24.8 cm) transferred onto another panel which consists of two planks as well, and is bevelled at the top and bottom. The original panel has been planed down to 0.2-0.3 cm. The reverse shows vertical plane marks. Dendrochronology has shown that the youngest heartwood ring of the original panel was formed in 1482. The panel could have been ready for use by 1493, but a date in or after 1507 is more likely. The white ground, which shows through the greyish foreground area, must have been applied in the original frame; although the edges are largely retouched, remains of an unpainted edge and barbe are visible at the bottom and on both sides (painted surface: 64.3 x 44.2 cm). The underdrawing in a dry medium, which is visible in some areas with the naked eye, especially in the architecture, could be partly detected with infrared reflectography as well. Where visible, the underdrawing consists of contours around the figures and a few hatchings in the direction of the drapery folds (fig. b) The architecture appears to have been a little more extensively underdrawn with horizontal and vertical lines. The painting technique is linear and precise. For the suggestion of gold, the artist combined gilding (almost completely lost) with yellow paint. The paint was applied rather thickly, and impasto was used to suggest texture, especially for the brocade gown of the kneeling king on the left.

Fair. There is minor abrasion in the background architecture, especially on the right, and in the sky. The Virgin’s cloak may be overpainted. The varnish is uneven and discoloured.

….; the dealer J. Goudstikker, Amsterdam, as Meester van Alkmaar;¹¹Note RKD.…; collection Dominicus Antonius Josephus Kessler (1855-1939) and Mrs A.C.M.H. Kessler-Hülsmann (1868-1947), Kapelle op den Bosch, near Mechelen;²²Note RMA. donated, with xx other objects, by Mrs A.C.M.H. Kessler-Hülsmann to the museum, 1940

Object number: SK-A-3324

Credit line: Gift of Mr and Mrs Kessler-Hülsmann, Kapelle op den Bosch

Here, the adoration of the Magi is not taking place in the customary dilapidated stable but in a more architectural setting. The building bears no resemblance to the ruins of King David’s palace, where artists often situated the event, but appears to be a composite of contemporary buildings. In addition to the usual figures of the Christ Child, the Virgin and the three kings there is Joseph in the right middleground, who is being told that there is no room in the inn. To the left of him is a group of soldiers, one of whom appears to be based on a portrait of Julius Caesar engraved by Daniel Hopfer (c. 1470-1536), possibly in order to give the scene a more historical look (fig. a).⁵⁵With thanks to Rob Scheller.

The panel was thought to be a work by the Master of Alkmaar when it was acquired in 1940 on the evidence of perceived similarities to the Adoration of the Magi triptych that is attributed to him (SK-C-1364), but it is more likely to have been made by an assistant in the workshop of Jacob Cornelisz van Oostsanen. The figures are not the Master of Alkmaar’s short, stocky types, but are taller and adopt more elegant poses. In contrast to the master’s distinctively angular heads with long noses and pronounced almond-shaped eyes, the ones in this painting have rounder faces and look a little doll-like. There are also similarities to the work of Jacob Cornelisz from a technical point of view, particularly in the distinctive brushwork, which consists mainly of short parallel brushstrokes and dark contour lines, which are especially apparent in the face of the young soldier wearing armour on the left. Although it was difficult to make out the underdrawing with infrared reflectography, where it is visible it consists of contour lines, with short hatchings in the shaded areas in the direction of the folds (fig. b). This drawing manner is consistent with the studio practice of Jacob Cornelisz, although his own lively, almost chaotic hand is not immediately recognisable here.

Although the panel does not measure up to Jacob Cornelisz’s Nativity Altarpiece of 1512 in Naples,⁶⁶Museo Nazionale di Capodimonte; illustrated in ENP XII, 1975, no. 253, pl. 141. the painting technique is very similar and the Amsterdam panel can be dated c. 1510-15 for that reason. At that time there were several assistants active in his workshop, among them his sons Cornelis Jacobsz and Dirck Jacobsz, as well as Jan van Scorel. It is unclear, as yet, to what extent one of them was responsible for this Adoration of the Magi.

(Daantje Meuwissen)

1976, p. 629, no. A 3324 (as circle of Master of Alkmaar)

D. Meuwissen, 2010, 'workshop of Jacob Cornelisz. van Oostsanen, The Adoration of the Magi, c. 1510 - c. 1515', in J.P. Filedt Kok (ed.), Early Netherlandish Paintings, online coll. cat. Amsterdam: https://data.rijksmuseum.nl/20028301