Virgin and Child with angel musicians
17th-century Antwerp school
By Cornelis de Baellieur (1607-1671)
Oil on oak panel
The reverse branded with the mark of the City of Antwerp Panel Makers' Guild depicting a castle surmounted by two severed hands (this brand has been used between 1470 and mid 17th century)
Dimensions: h. 21.65 in., w. 16.14 in.
17th-century gilded wood frame with foliate scrollwork.
Framed: h. 26.37 in., w. 20.87 in.
Provenance :
As Cornelis de Baellieur at Christie's Amsterdam, 4/09/2001
Private collection, Germany
Our panel features a seated Virgin Mary holding the infant Jesus on her lap. Rays of light emanate from the heads of the Virgin and Christ.
They are surrounded by musical angels, gathered to entertain them and witness the crowning of the Virgin. They play the violin, viola da gamba, lute and flute.
As two cherubs descend to lay the crown of Mary, Queen of Heaven, the dove of the Holy Spirit emerges from the clouds, glorifying the event.
The hearts of cherubim with their doll-like faces create an atmosphere of gentle contemplation and eternal happiness.
The theatrical scene, with large green curtains stretched on either side, lends an exhilarating edge to this celestial concert.
Clothes and wings in warm illuminated colors and golden nimbus emerge against a darkened background. The faces, with their soft, delicate features, are charmingly jovial and childlike.
Together, they form a delicate, charming work in which music is combined with Christian iconography.
Cornelis de Baellieur (1607-1671)
Cornelis de Baellieur, son of an Antwerp art dealer, was a pupil of Anton Lisaert, with whom he began his apprenticeship in 1617. Nine years later, he became Master of the Academy of Saint Luke, where he was Dean from 1644 to 1645.
He was a painter of religious compositions, historical and allegorical subjects, genre scenes, cabinets and lively interiors. His small figures are executed with mastery and meticulousness. His compositions feature a bold palette of white-yellow, violet and pink. His style, close to that of Frans Francken II, suggests that he worked in his studio: the same slender figures, the same refinement in meticulous execution and the same shimmering colors.