The Adoration

These two works have recently been associated with panels in collections in New York, Seville and Barcelona as having once formed part of a proposed, reconstructed retablo (large, multi-panel altarpiece) by Bernat Martorell and his studio, datable to about 1450. The characteristic geometric architecture and furnishings and the facial types correspond to other works by the artist, including our Annunciation of 1427. These panels, however, correspond to the artist’s late style, influenced by Early Netherlandish painting of the 1430s. The less sophisticated treatment of drapery and figures point to execution primarily by Martorell’s workshop or a close follower who knew the artist’s mature style.