Putto with Arms of Jacques Coëne [reverse], c. 1513

West Building, Main Floor - Gallery 41A

Medium

oil on panel

Dimensions

painted surface: 54.4 x 32.9 cm (21 7/16 x 12 15/16 in.)
overall (panel): 54.9 x 33.3 cm (21 5/8 x 13 1/8 in.)

framed: 63 x 41.8 x 5.7 cm (24 13/16 x 16 7/16 x 2 1/4 in.)

Credit Line

Samuel H. Kress Collection

Accession Number

1952.5.47.b

Artists / Makers

Bernard van Orley (artist) Netherlandish, c. 1488 - 1541

Image Use

This image is in the public domain.
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Provenance

Abbot Jacques Coëne [d. 1542], Marchiennes. (Paul Bottenwieser, Berlin); acquired January 1928 by (F. Kleinberger Galleries, Inc., New York and Paris);[1] sold 6 February 1928 to Albert J. Kobler [d. 1936], New York;[2] by inheritance to Mrs. Albert J. [Mignon Sommers] Kobler; by inheritance to her sons, John Kobler, Weston, Connecticut, and Jason S. Kobler, New York; consigned 18 June 1946 and sold 16 October 1947 to (Duveen Brothers, Inc., London, New York, and Paris);[3] purchased 1949 by the Samuel H. Kress Foundation, New York; gift 1952 by exchange to NGA.

[1] Kleinberger Gallery stock card no. 15865, Department of European Paintings, Metropolitan Museum of Art (copy, NGA curatorial files).

[2] The provenance from this point forward has been revised since it was published in 1986 in the NGA's systematic catalogue Early Netherlandish Painting. Newspaper articles located by Patricia Teter, and documents found by Dan Jacobs in the Duveen Brothers Records (Getty Research Institute, Research Library, accession number 960015, reel 329, box 474, folder 3), all kindly copied for NGA curatorial files, give the details. The provenance published in 1986 included the name of Mrs. Edward A. Westfall, who was listed as a former owner in the catalogue of the 1946 exhibition at Duveen's; however, the documents in the Duveen Brothers Records show no evidence of Westfall ownership. Dan Jacobs rightly concludes that the use of Mrs. Westfall's name likely came about as the result of a dispute between the Internal Revenue Service and the Kobler estate (which had initially been reported as valued at only $5,000; see "A.J. Kobler estate is less than $5,000," The New York Times [19 May 1937]: 23). Edward Westfall, like Kobler an executive with the Hearst newspapers, was an honorary pallbearer at Kobler's funeral, so there was certainly a professional and social connection (see "200 Attend Services for Albert Kobler," The New York Times [4 January 1937]: 29). The correspondence with Dan Jacobs and Patricia Teter, from March, April, and June 2005, is in NGA curatorial files.

[3] The agreement for a consignment of nine paintings and two tapestries between the Kobler sons and Duveen Brothers was dated 22 April 1946, and the objects were delivered two months later on 18 June.

Associated Names

Bottenwieser, Paul
Bottenwieser, Paul
Coëne, Jacques, Abbot
Duveen Brothers, Inc.
Kleinberger Gallery
Kobler, Albert J.
Kobler, Albert J., Mrs.
Kobler, Jason S.
Kobler, John
Kress Foundation, Samuel H.

Exhibition History

1929: Loan Exhibition of Flemish Primitives, F. Kleinberger Galleries, New York, 1929, no. 86.

1946: An Exhibition of Flemish Paintings, Duveen Art Galleries, New York, 1946, no. 15.

2019: Bernard van Orley: Brussels and the Renaissance, Palais des Beaux-Arts, Brussels, 2019.

Technical Summary

The painting is in very good condition. There are small, scattered retouchings, particularly in the upper portions of the architecture and the columns. Remnants of unpainted edges and a barbe indicate that the panel was painted in an engaged frame. A narrowing of the painted surface on the sides 9 cm from the bottom may indicate an irregularly shaped decorative frame. Examination with infrared reflectography reveals extensive underdrawing in both brush and what appears to be pen or chalk. There are large areas of cross hatching in the figures and the architecture. The young Jesus originally stood on a small round dais, and in the upper story of the loggia shallow arches are drawn underneath the horizontal lintel on either side of the portico.

The reverse has suffered more damage than has the front. There are large areas of loss and retouching in the putto's face and thigh and generally in the lower half of the painting. No underdrawing was made visible with infrared reflectography.