Attributed to The Master of the Holy Blood

"The following condition report has been provided by Henry Gentle, an independent restorer who is not an employee of Sotheby's. The oak panel is cradled in order to consolidate a vertical join. There are further unstable vertical splits detectable down from the top edge and up from the bottom. The paint layer has been extensively strengthened throughout, particularly the frazzled paint to the background, the flesh tones where the pale ground colour has come to dominate, the fur and the trompe l'oeil wood surround. Some of this restoration is excessive and imprecise in places. Fine glazes and scumbles have been compromised but the red of her cloak and the highlights are generally well preserved. There is no tonal benefit to be gained with the removal of the varnish. Offered in a plain oak frame with a gilt sight edge in good condition."
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

The Master of the Holy Blood (or Maître de Saint-Sang) was the name given to the anonymous master who painted a triptych of the Lamentation in the possession of the Confraternity of the Holy Blood in Bruges. Friedländer has suggested that the artist received his training in Antwerp as he shows a close knowledge of the work of Quentin Metsys. The master appears to have produced most of his work, however, in Bruges where his output shows the influence of his fellow townsmen Gerard David, Ambrosius Benson and Jan Provost.¹

 

Friedländer lists several autograph versions of the Lucretia, including a version formerly in the collection of Professor Matsch in Vienna with which the present painting is possibly identifiable.² The composition of the present work also relates closely to two further autograph versions; the first is in Brussels, Musées Royaux des Beaux-Arts, inv. no. 6900 and the other was sold New York, Sotheby's, 25 May 2000, lot 14.³

1. For further discussions on the artist, see M. J. Friedländer, Early Netherlandish Painting, ed. 1974, vol. IXb, pp. 98-98, and Primitifs flamands anonymes, exh. cat., Bruges 1969, pp. 74-87 & 233-33.
2. See M.J. Friedländer, 1974, op. cit., p. 120, cat. no. 217a, reproduced pl. 207, as "Present location unknown".
3. For the Brussels version see Primitifs flamands anonymes, op. cit., p. 86, cat. no. 38, reproduced.