Lot 1404 Dα

Several versions of the Virgin and Child enthroned under a canopy with musical angels by Hans Memling are known. One of the most impressive is the Triptych of the Enthroned Virgin in Vienna (Kunsthistorisches Museum, inv. 939) executed in the 1480s. The composition must have been much appreciated by Memling's clients as he repeated it with some variations in the Washington Madonna and Child with Musical Angels (National Gallery, inv. 1937.1.41) dated 1485-1490 and in the Pagagnotti Triptych today divided between two major museums, the central panel being in Florence (Galleria degli Uffizi, inv. 1024) and the wings in London (National Gallery, inv. NG 747/), may be the earliest one of these altarpieces. After the master's death in 1494 the subject appears to be still in favor as testified by the Madonna and Child with a Musical Angel and abbot Christiaan de Hondt (Paris, Musée du Petit Palais, inv. 2530) executed between 1499 and 1509 and the present panel which must probably date from the same period. Such small panels or Andachtsbilder were intended for private devotional use. The present version said to have been in the oratory of Charles V in Yuste belongs to this tradition. It must have been considered of great importance as it was exhibited in the Louvre and thereafter part of the collection of King Louis-Philippe of France.
This work is slightly smaller than the centre panel of the Vienna altarpiece, most of the setting is identical to it. The holy figures are seated under the arch of an elegant Italian renaissance gallery which opens onto a landscape. A musical angel holding a vielle and offerring an apple to the infant Christ kneels on the left of the throne. On each side above the capitals of two marble columns, four puttis stretch a fruit garland joined by two others on the top of the sculptured arch. The most striking difference with all the other compositions lies in the absence of any figure on the right side. This may be explained by the fact that the painting was not made prior to any special order but executed for the free market waiting for a future potential buyer. Once acquired it's owner could then have his portrait painted either before the Madonna in case of a single person or on two sided wings in case of a married couple. The close relationship with the Vienna altarpiece makes it clear that it was the model used for the present painting.