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Investigating the Authenticity of Paintings believed to be by or attributed to;

Jan Gossaert, called Mabuse

(ca. 1472-1532)

Nederlandish

AKA: Jan Mabuse, Jennyn Gossaert Mabuse, Jennyn Gossaert Mauberge, Jan Gossaert Mabuse, Jan Gossaert Mauberge,

Gossart van Mabuse, (Joannes Malbodius), Gossart van Mauberge, (Joannes Malbodius) GENANNT MABUSE

   Jan Gossart's birth is believed to be around 1478 and he was probably born in Castle Duurstede, near Utrecht, in the French speaking region of the Low Countries.

Little is recorded of his early life, though it is believed he probably first trained as an artist in Antwerp.
  What is known is that he visited and worked for a short time in Rome in about 1509 where he had travelled with his Patron on a diplomatic mission to see the Pope and there he studies Italian architecture and antiquity, making drawings of ancient sculptures, Roman structures and monuments. This was to have a profound influence upon him.

On his return from Italy, he is credited as being the first artist to introduce the art of depicting history and mythological themes with the use of sensuous and nude figures to northern Europe. He certainly was the first European artist to fully embrace the traditional Renaissance depictions of religious portraiture.

 His stunning portraits were also influenced heavily by Brugges artists Jan Van Eyke and Hans Memling and Gossart was to become an immensely talented and versatile artist, able to create intensely original creations.

Jan Gossart: St Luke Drawing the Virgin 1520-22 Oil on oak panel

Kunsthistorisches Museum, Vienna

  A wonderful example of Gossart's gifted genius for composition, is his painting of St. Luke Drawing the Virgin c.1520-22. The oil on oak panel seen here above, on the left. Where an angel gifts to Saint Luke not only the artistic ability to draw but also the opportunity to portray the true likeness of the Virgin Mary appearing before him. This was a subject Jan Gossart addressed earlier in a similar painting of 1515 (seen here above on the right) But with the significant influences of his studies in Rome from where he fairly recently returned is quite apparent.

  Jan Gossart worked mainly as a court artist for most of his life, assigned to his principal sponsor and patron, Phillip of Burgundy, Admiral of the Netherlands and Bishop of Utrecht. But also receiving commissions from other private patrons in this circle such as Jean Carondelet, the Chancellor of Flanders and King Christian II of Denmark, but he also created many religious panel paintings, triptych and altarpieces.

The themes and subjects of his works were fairly consistent, based on the life of Christ, the Madonna and Child and Adam and Eve. There are adorations, Mary Magdalene's and fine portraits, as well as many pen and ink drawings and woodcuts.

Of his Madonna and Child paintings, commentators suggest there are at least 20 remarkable copies, or variations of a now lost original by Gossaert from 1520 that survive today. Copies not only created during his lifetime, but on into the seventeenth century.

Jan Gossart, called Mabuse
The Virgin and Child
oil on panel Sold USD $3,372,500

Jan Gossaert -Virgin and Child oil on oak panel

SOLD. £4,629,000 GBP

Prado

  When Jan Gossart's principal patron, Phillip of Burgundy died in 1524, it is believed Gossart finally opened up a studio just to fulfil the demand for copies of his works. But other artists of note also recreated his paintings. Including the studios of Jan de Beer, Joos van Cleve, Pieter Coeke van Aelst and Quentin Metsys. They collectively employed the talent of many apprentices and studio assistants.

Such was the demand for works in the manner of Gossart that they became mass-produced, beyond the control or direction of Gossart himself and often not direct copies as such, but altered variations of his compositions.
Not surprisingly, some of these works are more than likely wrongly attributed to Gossart himself today, instead produced from within his circle and painted by any of these artist of this time but are just really a work of the ‘Flemish School’

But this compounds as he influenced so many other artists later, so that anything vaguely resembling the subject matter and painted in an old master style by a follower of Gossart, often has the credit attached to it that it is 'by' Jan Gossart on the auction platforms of today.

 Only some 60 works of art confirmed to be by Jan Gossart still exist today painted on wooden panel, though a dozen more were executed on canvas according to references and inventories of the time, though sadly none of these paintings have survived.

Jan Gossaert Mabuse Circle, Maria with Child holding apple in front of dark background, oil on oak panel

Follower of Jan Gossaert The Virgin and Child

Price realised GBP £17,500

 Pupils of Jan Gossart as such were few, Jan Mertens the Younger, Hennen Mertens and Machiel Swaenken were registered as his apprentices in 1507. Yet according to Thieme / Becker, he also had Jan van Scorel as a student, but this is questioned.

  It seems for most of his working life he had no major studio or atelier as such to work from, perhaps choosing to work in the studios of his contemporaries and collaborators instead. But as his immense fame and credit as an artist grew, there was an ever increasing demand for copies of his works. Many of these it is believed were made by apprentices working in various other artist studios in Antwerp and Brugges that he frequented.

 FINE ART AUTHENTICATION & ATTRIBUTION

 We are international fine art consultants specializing in conducting full investigations into the authenticity of works of art created by all artists and categories and from all regions and historical eras with specific expertise in the art of the old masters.

Confidentially serving both private individuals and corporate clients from around the world for over 45 years, we can assist and advise you in all fine art related matters, particularly those issues of authenticity, legitimacy and attribution of old master works of art, including the works of Jan Gossart (Mabuse) and his studio and circle, or paintings you are unsure about.

Authentication:  Conducting and directing comprehensive investigations and in depth research, with a view to establishing a correct, full and formally recognized certification of a work of art. One absolutely upheld by the appropriate, legally acknowledged and internationally sanctioned authority, body or expert on that given artist.

Directing detailed and complicated inquiries with multilingual, international academic research and any forensic applications.

 Attribution:  Identifying and confirming the identity of a previously anonymous artist, studio or workshop from which a work of art most likely originated. Including the re-examination and investigation of a previous attribution which may be incorrect, or the scrutiny of an attribution that has been formally questioned or doubted.

 Confirmation:  Undertaking research and investigations into the legitimacy of the provenance, history and prior ownership of a work of art and establishing its own accuracy.

 Scrutiny:  Identifying fake works of art and forgeries, including any false supportive accompanying documentation and determining works of art which may be studio or later copies, or previous incorrect attributions.

 Prosecution:  Investigating alleged art fraud and forgery and assisting and advising those who are , or may be considering litigating or prosecuting the fact. This includes legal professionals and private clients.

 Attention:  Conducting all fine art related due diligence and duty of care inquiries. Including safe prepurchase or sale related audits and assisting clients in consolidating a well balanced future family distribution.

 Appraisal: Valuations, quality and condition reports.

Step one in the Art Authentication and Attribution process

The Pre-Authentication Assessment

 Before you begin any art authenticity, legitimacy, or an artist attribution investigation, it is more than wise to have an impartial preliminary assessment of the viability of the project conducted first. One made to independently and rationally balance any negative issues there may be against the positive elements. Treat it simply as a safety net.

 We will be happy to professionally undertake that study for you, based upon good quality images that you supply and all the known facts regarding its acquisition  and the history and provenance of the work as is known to you.

You will then have a far better understanding of the prospects or pitfalls that could lie ahead.

See our FAQ's for details of the process

CONTACT US

We will respond to you promptly.

  Avant d'entreprendre une enquête sur l'authenticité d'une œuvre d'art ou l'attribution d'un artiste, il est plus que prudent de procéder à une évaluation impartiale de sa faisabilité. Ceci est fait pour équilibrer indépendamment tous les problèmes négatifs qui peuvent exister contre le positif.

Nous serons heureux d'entreprendre cette étude d'une manière professionnelle pour vous que nous considérons comme votre principal filet de sécurité.
Il sera basé sur les images que vous fournissez et tous les faits connus concernant votre acquisition, son passé et la provenance de l'œuvre telle que vous la connaissez. Vous aurez alors une meilleure compréhension des perspectives et des difficultés éventuelles à venir, avant de prendre une décision.

  Antes de embarcarse en cualquier investigación de autenticidad artística o atribución de artista, es más que prudente realizar primero una evaluación imparcial de su viabilidad. Esto se hace para equilibrar independientemente cualquier problema negativo que pueda haber contra el positivo.

Nos complace emprender profesionalmente ese estudio para usted, que consideramos su red de seguridad. Se basará en las imágenes que usted suministre y todos los hechos conocidos con respecto a su adquisición, historia pasada y procedencia del trabajo tal como lo conoce.

Entonces tendrá una mejor comprensión.

ABOUT AUCTION HOUSE DESCRIPTORS

 It is important to understand the auction terms used in any descriptor and be cautious of works that may be painted in the style or even copies of his works which bear a signature. In this case, Jan Gossart or (Mabuse).

Jan Gossart or (Mabuse); The first name/s and surname of the artist. In their opinion it is the genuine authentic item, painted by the artist.

Jan Gossart (Mabuse); “Attributed to ….” That in their opinion it is 'probably' a work by the artist, at least in part.

Jan Gossart (Mabuse); “Studio of ….” or “Workshop of” In their opinion it is a work executed in the studio or workshop of the artist.

Possibly by an apprentice or pupil under his supervision.

Jan Gossart (Mabuse); “Circle of ….” In their opinion it is a work of the period of the artist and showing his influence, or closely associated with the artist but not necessarily by his pupil.

Jan Gossart (Mabuse); “Style of ….” or “Follower of ….” In their opinion it is a work of art executed in the artist’s style, but not necessarily by a pupil. But it may be contemporary or nearly contemporary.

Jan Gossart (Mabuse); “Manner of ….” In their opinion it's a work in the style of the artist but of a later date and not by the artist.

Jan Gossart (Mabuse); “After ….” In their opinion it is a copy (of any date) of an original work by the artist.

Jan Gossart (Mabuse); “Signed…”, “Dated….” or “Inscribed” In their opinion the work has been signed/dated/or inscribed by the artist. The addition of a question mark indicates an element of doubt.

Jan Gossart (Mabuse); "With signature ….”, “With date ….” or “With inscription….” or “Bears signature/date/inscription” Then in their opinion the signature / date / or inscription has been added by someone else other than the artist.

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