第一幅：聖母子VIRGIN AND CHILD

紐約蘇富比2010.1 成交價13.45萬美元

作品介紹（原文）

This much favoured composition was repeated by the Master of the Magdalene Legend on several further occasions; in a panel in the Museum Mayer van den Bergh, Antwerp (curved top); in the Diptych of the Virgin and Child with Willen van Brabant in an Amsterdam private collection (square top); in another single panel formerly in the Demandolx Dedons collection in Marseilles (square top); and in the panel offered New York, Sotheby"s, 25 January 2001, lot 31 (curved top and sold as "Attributed to the Master of the Magdalene Legend").

作品細節

參考譯文

這件備受青睞的作品再次由馬格達倫傳奇大師重新出現; 在安特衛普梅耶·范登伯格博物館的一個小組中（彎曲的頂部）; 在阿姆斯特丹私人收藏中的韋倫·范布拉班特，在聖母子女的雙聯畫（廣場頂部）; 在馬賽的德芒多·德頓系列中的另一個單一面板（方頂）; 2001年1月25日蘇富比拍賣行於紐約拍賣行提供了31號拍品（彎曲的頂部並以「應歸屬於馬格達倫傳奇大師」的形式出售）。

作品細節

作品細節

第二幅： 戴著天使報喜綬帶的年輕人（ A Young Man wearing the Order of the Annunciation ）

英國沃里克郡厄普頓宅邸

作品介紹（原文）

Oil painting on oak panel, A Young Man wearing the Order of the Annunciation by the Master of thethe Legend of the Magdalen (c. 1483 - c. 1530), circa 1520. A half -length portrait of a young man, looking slightly left and downwards, wearing a grey dress embroidered with black floral designs and striped with gold, a white shirt with gold braid, a dark mauve velvet cloak and black barette with a jewel decorated with the Virgin and Child; a circular pendant jewel with a design of the Annunciation is attached to a black ribbon round his neck, he holds a dagger and scabbard in both hands, with the initials R.H. engraved on the scabbard. Blue-green background.

參考譯文

橡木板上的油畫，一名年輕人佩戴馬格達倫傳奇大師（約1483年 - 約1530年）大約1520年的作品《天使報喜》的綬帶。一個年輕人的半身肖像，略微向左看向下，身穿灰色連衣裙，綉有黑色花卉圖案，鑲有金色，白色襯衫，金色編織，深紫紅色天鵝絨斗篷，黑色裸露，飾有聖母和小孩的寶石; 一個帶有天使報喜設計的圓形吊墜珠寶貼在他脖子上的黑色緞帶上，雙手握著一把匕首和刀鞘，刀鞘上刻有縮寫RH。藍綠色背景。

第三幅：《聖厄休拉的殉難》 Martyrdom of Saint Ursula （英國皇家收藏基金會）

作品介紹（原文）

This painting is attributed to an artist of the circle of the anonymous Master of the Magdalen Legend (c.1483-1527). This name is applied to works which bear a resemblance to the Triptych of the Legend of the Magdalen, c.1515-20 (the triptych has been dismembered, with the centre panel cut in two halves in Budapest and Copenhagen, and the wings in Philadelphia and Schwerin). The artist is thought to have run a large workshop in Brussels.

作品細節

This work does not have evidence of hinge marks and has not been cut down. It is therefore considered to be a stand-alone panel rather than a fragment from an altarpiece. It would have been intended for devotional use, perhaps in a small chapel where it could have been displayed to show both sides. The front panel depicts the Martyrdom of St Ursula. The story of the saint』s life is often depicted in Renaissance narrative paintings, the most famous Netherlandish example being Memling』s painted St Ursula Shrine, 1489 (Sint-Janshospitaal, Bruges). The story of the Breton princess is told in Jacobus de Voragine』s Golden Legend (c.1260). The beautiful daughter of the King of Brittany accepts a marriage proposal from Conon, the son of the pagan King of England, as long as the Prince agrees to travel with her to Rome and to be accompanied on the pilgrimage by eleven thousand virgins. They are baptised in Rome and return home via Cologne, where their vessels are besieged by the Huns. The entire company is killed, including Ursula, who turns down a proposal of marriage from the barbarian leader (he oversees the massacre from the window at foreground right) and is shot by an arrow.

The impression is given that the boats in the foreground are part of a larger retinue, containing all the maidens. The women who have already disembarked refuse to be violated by the Huns, so are murdered on the quayside. The small scene of Ursula』s betrothal to Conon shown through a decorated window (to the left of the King of the Huns) provides the viewer with the narrative background. This is further evidence that the panel was not intended to be part of the complicated iconography of a multipanelled altarpiece. Two single-figure saints are depicted on the reverse of the panel. St Hugh of Lincoln is shown in his bishop』s vestments, with a crosier in his left hand and a Bible in his right. He is accompanied by his attribute of a swan. St Bruno wears the habit of a Carthusian monk. He holds an olive branch (to symbolise peace) and a Bible. His bishop』s crosier and mitre lie at his feet and the fountain next to him may symbolise salvation. Both saints were of the Carthusian Order, indicating that the panel was probably a Carthusian commission. They are depicted within fictive stone niches. A strip at the bottom edge of the reverse of the panel has suffered damage. The reverse seems to have been painted by a different artist from the front, but stylistically both can be associated with the Master of the Legend of the Magdalen.

Catalogue entry adapted from The Northern Renaissance. Dürer to Holbein, London 2011

參考譯文

這幅畫歸功於一位不知名的馬格達倫傳奇大師（c.1483-1527）的藝術家。 這個名字適用於與Magdalen傳奇三聯畫相似的作品，15.15-20（三聯畫已被肢解，中心面板在布達佩斯和哥本哈根分成兩半，費城的翅膀 和什未林）。 這位藝術家被認為在布魯塞爾開辦了一個大型工作室。

聖厄休拉的殉難 背面 Martyrdom of Saint Ursula 英國皇家收藏基金會

這件作品沒有鉸鏈標記的證據，也沒有被裁短。因此，它被認為是一個獨立的面板而不是祭壇的碎片。它本來是用於靈修用途，也許是在一個小禮拜堂里，可以陳列以同時展示正反面。前面板描繪了《聖厄休拉的殉難》。聖人生平的故事經常在文藝復興時期的敘事繪畫中描繪，最著名的荷蘭人的例子是梅姆林的《聖厄休拉聖殿》（St Ursula Shrine，1489年，老聖約翰醫院，布魯日）。布魯頓公主的故事在雅各布斯·德·沃拉吉(Jacobus de Voragine)大主教的《金色傳奇》(Golden Legend)（c.1260）中講述。布列塔尼國王的美麗女兒接受英國異教國王的兒子康恩的求婚，只要王子同意和她一起去羅馬旅行，並伴隨著1.1萬名處女陪伴朝聖。他們在羅馬受洗並經科隆回家，他們的船隻被匈奴圍困。整個朝聖隊伍全部被殺害，其中包括厄休拉，她拒絕了野蠻人領袖的婚姻提議（他在前方右邊的窗口監督大屠殺）並被箭射中。

背面局部

給人的印象是，前景中的船隻是較大的隨從中的一部分，包含所有的少女。已經下船的婦女拒絕被匈奴人侵犯，因此在碼頭被謀殺。通過裝飾窗口（匈奴之王左側）顯示的厄秀拉與科農訂婚的小場景為觀眾提供了敘事背景。這進一步證明這幅畫並不打算成為多面式祭壇畫的複雜圖像的一部分。面板背面描繪了兩個單身聖徒。林肯的聖休穿著主教的外衣，左手是一個十字架，右手是一本聖經。他伴隨著天鵝的屬性。聖布魯諾穿著卡爾特會修士的修道服，拿著橄欖枝（象徵和平）和聖經。他的主教十字架和斜放在他的腳下，他旁邊的噴泉可能象徵著救贖。兩位聖徒都屬於加爾都西會(Carthusian Order)，這表明這幅畫可能是加爾都西會定製的。它們被描繪在虛構的石頭壁龕中。面板反面底邊的條帶受到損壞。反面似乎是由一位不同的藝術家從前面繪製的，但風格上都可以與馬格達倫傳奇大師聯繫在一起。

背面局部

改編自《北方文藝復興》的目錄條目。丟勒到荷爾拜因，2011年倫敦

第四幅：童年伊莎貝拉公主像 PORTRAIT OF AN INFANT PRINCESS

倫敦蘇富比2012.12 成交價15.725萬英鎊

作品介紹

The identification of the sitter as Isabella of Austria (1501-1526), daughter of Philip the Fair and Johanna, sister of the Emperor Charles V, who was married in 1514 to Christian II, King of Denmark, almost certainly predates Dr Figdor』s ownership, since it is recorded in an old label in English on the reverse. Max J. Friedl?nder, who was responsible for the Figdor sale catalogue, describes the sitter as a sister of Charles V, probably Isabella, and notes that pictures of this sort had recently been attributed to the Master of the Magdelene Legend. Paul Lambotte, who wrote to the Goldschmidts on 13 March 1935 requesting the loan of the picture to the Brussels international exhibition later that year devoted to Cinq Siècles d』Art Bruxellois, described the work as by the Master of the Magdalene Legend and of one of the sisters of Charles V.1

The identification of the present sitter as the Archduchess Isabella is supported by similarities with her portrait framed with (and doubtless conceived together with) portraits of her brother the future Charles V and her sister Eleonora (who is of a markedly different appearance). The three portraits, still together in their original frame, are in Vienna, Kunsthistorisches Museum, and have also been attributed in the past to the Master of the Magdalene Legend, but also more recently to both the Master of the Josephsfolge and the Master of the Saint George"s Guild.2

The Master was named by Friedl?nder after a dismembered altarpiece that chronicled the life of the Magdalene.3 Evidence for his association with Philip the Fair, to whom he is assumed to have been Court Painter, is made by a triptych of The Miracle of the Loaves and Fishes in Melbourne, in which the wings are by the Master of the Magdalene Legend, and depict Philip the Good with his three wives, Charles the Bold with his wife, and Philip the Fair, unmarried. The Master painted Philip the Fair in a number of versions, and likewise his daughters, as well as other members of his family, always on a small scale, and as here, bust length. These small-scale works epitomise official portraiture at the Burgundian Court in Brussels. The present portrait is similar in format, size and style to one of the sitter"s father, Philip the Fair, sold at Sotheby"s, New York, 28 January 2000, lot 6, for $470,000.

Dr Wolfgang Huck (1898-1967) was a highly influential newspaper proprietor in Berlin in the 1920s, and was married to the famous actress Camilla Eibenschütz, who worked almost exclusively with the Director Max Reinhard. The couple divided their time between their Dahlem villa and the country estate of Bogenbergslehen in the foothills of the Bavarian Alps, both buildings having been designed by the Berlin architect Albert Breslauer.

參考譯文

鑒於奧地利的伊莎貝拉（1501-1526），菲利普一世的女兒和查爾斯五世的姐妹約翰娜，她於1514年與丹麥國王克里斯蒂安二世結婚，幾乎可以肯定早於西格多博士的所有權，因為它反過來用英文記錄在舊標籤上。負責菲戈銷售目錄的馬克斯·J.弗里德倫德爾將模特描述為查爾斯五世的姐妹，可能是伊莎貝拉，並指出這類油畫最近歸屬於馬格達倫傳奇大師。保羅·蘭博特於1935年3月13日寫信給戈爾德施密特，要求將作品借給當年晚些時候的布魯塞爾國際展覽，專門展示五個世紀的布魯塞爾藝術， 描述了馬格達倫傳奇大師和查理五世的姐妹之一的作品.1

作為伊莎貝拉公主的現任模特的鑒定得到了與她的肖像相似的相似性的支持（並且無疑與其一起構思）她的兄弟未來的查理五世和她的妹妹埃莉奧諾拉（外表明顯不同）。這三幅肖像畫仍然在原始畫面中，位於維也納藝術史博物館，並且過去也被歸於馬格達倫傳奇大師，但最近也歸功於約瑟夫斯福奇大師和聖喬治公會大師。2

大師在弗里德蘭德（Friedl?nder）的名字命名之後，記錄了瑪格達琳（Magdalene）的生活。3 基於與菲利普一世有關的證據，他被認為是宮廷畫家，墨爾本的《麵包和魚的奇蹟》三聯畫中的兩翼是由抹大拉傳奇大師製作的，描繪了菲利普·古德和他的三個妻子，查爾斯·博爾德和妻子，以及未婚的菲利普一世。大師在許多版本中描繪了菲利普一世，他的女兒，以及他的家庭的其他成員，多為小型作品，就像這幅半身像。這些小型作品是布魯塞爾勃艮第宮廷官方肖像畫的縮影。目前的肖像在格式、大小和風格上類似於模特的父親菲利一世，於2000年1月28日在紐約蘇富比拍賣，售價為470,000美元。

沃爾夫岡·哈克博士（1898-1967）在20世紀20年代是柏林一位極具影響力的報紙經營者，並與著名女演員卡米拉·艾本施茨（CamillaEibenschütz）結婚，後者幾乎完全與導演馬克斯·萊因哈德（Max Reinhard）合作。這對夫婦將他們的時間分配在他們的達勒姆別墅和位於巴伐利亞阿爾卑斯山腳下的博根貝爾斯萊恩鄉村莊園之間，這兩座建築都是由柏林建築師艾伯特·布雷斯勞爾設計的。

第五幅： 聖菲利普和聖查理曼祭壇畫 Christ and Saint Charlemagne with donors

倫敦佳士得2016.10 成交價12.5萬美元

參考譯文

自從在20世紀初首次出版以來，這兩個祭壇的兩翼被認可為匿名佛蘭芒畫家馬格達倫傳奇大師的精湛作品。精心製作的徽章將捐贈者確定為克萊爾·博耶夫克爾克和漢諾克家族的成員。這些波峰巧妙地融入到構圖中，好像它們是與保持者佔據相同空間的物理對象，交替地懸掛在樹枝上或貼在建築物上。在右翼，跪著的虯髯男子穿著紅色天鵝絨，貂皮襯裡的長袍，是查爾斯·德·克拉克。德·克拉克是土生土長的梅赫倫人，是一位成功的朝臣，他的頭銜是戰爭財務主管，財政大臣，查理五世宮廷財務主管。他後來成為那不勒斯王國的總幹事，1516之後，他在里爾擔任荷蘭的司庫長，直到1523年。德克拉克被埋葬在梅赫倫的聖約翰教堂，他的生活傳記細節通過他的墓志銘而聞名。

站在德克拉克後面的是他的守護神查理曼，他拿著劍並保持著Aix大臣的姿勢。正如馬克·魯道夫·德弗里指出的那樣，查理曼的存在也可能意味著德克拉克對神聖羅馬帝國皇帝的忠誠（同上，第19頁）。查爾斯爵士的第三任妻子安妮·漢諾克（1537年）穿著同樣奢華的服裝跪在他身邊。這是一次成功的婚姻：安妮撫育了查爾斯爵士的十一個孩子，其中不少孩子在宮廷和教會中都有成功的職業生涯。安妮的父母菲利普·漢諾克和他的妻子瑪麗亞·科林森在左翼跪拜，受使徒聖菲利普的保護。瑪麗亞手上的十字架表示她的畫像是一幅遺作。菲利普·漢諾克於1480年與瑪麗亞·科林森結婚，在成為鰥夫後，加入了祭司職位。

這些面板最初所屬的祭壇可能是為了紀念德克拉克和安妮·漢諾克在1509年舉行的婚禮，這個活動必須作為他們創作的后座。然而，情人服裝的風格表明日期約為1520年（J. Tombu，同前，第274頁）。出於這些原因，德弗里得出結論，這些畫的創作日期應該在1516年至1523年之間，與創作現在拆除和分散的《瑪格達倫》（The Magdalen，英國倫敦國家美術館）的被命名的藝術家的多邊形基本相同。鑒於菲利普·漢諾克穿著打扮成外行而不是牧師，委託也必須早於他的聖職任命。人物及其守護神的構圖安排反映了雨果·凡·德·古斯（Hugo van der Goes）的影響，特別是他的1475年波爾蒂納里祭壇畫（佛羅倫薩，烏菲齊美術館）。當紐瓦克面板在1917年左右進入邁克爾·弗里德薩姆收藏時，他們仍然與他們的彩繪外牆相連。在浮雕式灰色裝飾畫的創作中，百葉窗的反面代表了一個令人痛苦的《看這個人》的場景，它讓人想起起耶羅尼米斯·博斯（Hieronymus Bosch）在圖像和風格上的作品（現在的位置未知，最後收藏記錄是道茲韋爾畫廊，見RKD編號49529-30）。中央面板未被記錄，但可能代表耶穌誕生或崇拜場景。

請注意，這幅畫的標題應該反映出菲利普·漢諾克和瑪利亞·柯林松背後的身影是聖菲利普，而不是基督。

作品介紹（原文）

Since they were first published in the early 20th century, these two altar wings have been recognized as superb works by the anonymous Flemish painter known as the Master of the Magdalene Legend. The elaborate coats of arms identify the donors as members of the Clercq Boevekerke and Hannock families. These crests have been artfully worked into the composition as if they were physical objects occupying the same space as the sitters, alternately hanging from tree branches or affixed to architecture. On the right wing, the kneeling bearded man dressed in a red velvet, ermine-lined robe, is Charles de Clercq. A native of Mechelen, De Clercq was a successful courtier who counted among his titles Councilor-Treasurer of War, Treasurer of Finance, and Master of the Court of Accounts under Charles V. He would later become Commissaire general of the kingdom of Naples and, after 1516, the Treasurer-General of the Netherlands at Lille, a position he held until his death in 1523. De Clercq was buried in the church of Saint-Jean in Malines and the biographical details of his life are known through his epitaph.

Standing behind De Clercq is his patron saint, Charlemagne, who brandishes a sword and holds a model of the Minster of Aix. As Marc Rudolf de Vrij notes, the presence of Charlemagne may also be meant as a sign of De Clercq』s allegiance to the Holy Roman Emperor (op. cit., p. 19). Sir Charles』s third wife, Anne Hannock (d. 1537), kneels beside him in equally luxurious attire. It was a successful marriage: Anne would bear Sir Charles eleven children, many of whom had successful careers at court and in the Church. Anne』s parents, Philip Hannock and his wife, Maria Colinsone, are shown kneeling in prayer on the left wing, protected by Saint Philip the Apostle. The cross fichée above Maria』s hands indicates that hers was a posthumous portrait. Philip Hannock married Marie Colinsone in 1480, and after becoming a widower, joined the priesthood.

The altarpiece to which these panels originally belonged may have been commissioned to commemorate the wedding of De Clercq and Anne Hannock in 1509, an event which must serve as a terminus post quem for their creation. The style of the sitters』 clothing, however, indicates a slightly later date of around 1520 (J. Tombu, op. cit., p. 274). For these reasons, de Vrij concludes that the panels should be dated to between 1516 and 1523, essentially the same period as the creation of the now-dismantled and dispersed polyptych of the Legend of Saint Mary Magdalene after which the artist is named. Given that Philip Hannock is shown dressed as a layman rather than a man of the cloth, the commission must also have predated his ordination. The compositional arrangement of the figures and their patron saints reflects the influence of Hugo van der Goes, particularly his Portinari Altarpiece of c. 1475 (Uffizi, Florence). When the Newark panels were in the Michael Friedsam collection around 1917, they still were joined with their painted exteriors. Executed in grisaille, the versos of the shutters represent a harrowing Ecce Homo scene that recalls the work of Hieronymus Bosch both iconographically and stylistically (present location unknown, last recorded with Dowdeswell』s Gallery, see RKD nos. 49529-30). The central panel is unrecorded, but likely would have represented a Nativity or Adoration scene.

Please note that the title of this painting should reflect that the standing figure behind Philip Hannock and Maria Colinsone is St. Philip and not Christ.

局部

（陰山工作室綜合整理編寫）

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