Adoration of the Shepherds (study)

The sketch was created in connection with the altarpiece commissioned by Cornelis Gheerolfs of Dendermonde for the Church of Our Lady. The altar, designed by Hieronymus Duquesnoy the Elder, was completed in late 1629, and the commission was discussed in a letter dated 21 November 1631. Van Dyck charged 500 guilders plus 12 guilders 18 stivers for the canvas. The sketch's provenance traces back to a wax seal formerly on the reverse of Jean Baptiste Antoine, Post Master General in Antwerp, who died in 1691. His posthumous inventory listed it as a Nativity sketch by Van Dyck valued at 72 guilders. The work later passed through the Hallsborough Gallery in 1957 and a private Swiss collection. Sold at Sotheby's in 2012 as by a follower of Van Dyck, it was subsequently handled by Philip Mould Ltd. and sold at Christie's on 15 December 2020 as an authentic Van Dyck, where it was purchased by The Phoebus Foundation.

This oil sketch belongs to Van Dyck's second Antwerp period, following his return from Italy in 1627. During this time, he shifted from using pen and ink on paper to executing initial compositional thoughts directly in oil on panel. These sketches played a crucial role in procuring and fulfilling important commissions, serving as presentation pieces for prospective patrons. Preparatory oil sketches by Van Dyck are rare, and he was notoriously reluctant to part with them. The final Dendermonde altarpiece reveals significant compositional changes from this initial study, including a reduction in width and an increase in height to better suit the altar space. Van Dyck moved the donkey and ox to the far left, repositioned Joseph above and behind Mary, and reduced the background to two classical columns, adjustments that recall Titian's Pesaro Madonna, a work Van Dyck admired in Italy.

The attribution of the sketch has fluctuated significantly over time, reflecting the broader challenges of studying Van Dyck's preparatory works. Early scholars like Gustav Glück and Lionel Cust accepted it as autograph, but in 1956 Hans Vey rejected it, classifying it as a copy. The 1960 Antwerp/Rotterdam exhibition labeled it a pastiche. Later scholars, including Erik Larsen and Michael Jaffé, reinstated it to Van Dyck's oeuvre, a view cemented by Christopher Brown in 2020 and subsequent publications by Davides and Seim. The sketch remains a vital document of Van Dyck's creative process, demonstrating his method of refining spatial dynamics and narrative focus. Its acquisition by The Phoebus Foundation and public display alongside the final altarpiece in Dendermonde have solidified its importance, allowing direct comparison between the initial concept and the finished masterpiece.