Brussels School, circa 1490

The actual painting is slightly less red and softer in tone than the catalogue illustration suggests. The panel consists of two horizontal planks. The panel is damaged to the lower right corner, but otherwise, flat and stable. There's and area of paint loss to the lower right and along the lower edge. The paint surface is under a slightly dirty and dull layer of varnish. The paint layer is well preserved and the under drawing is nicely visible. Tiny retouchings can be observed along the join and in the red draperies. Inspection under UV light reveals additional tiny scattered retouchings and strengthenings, e.g. in the face and to the background upper right. Offered in a plain gilt wood frame in fair condition. (MW)
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This work appears to have been painted by a Flemish artist working in Brussels towards the end of the 15^th Century. It may seem surprising that in spite of the many Brussels School characteristics a secure attribution has been elusive.

This portrait of an unidentified King shows characteristics that, in particular, can be associated with two anonymous Masters active in Brussels in the early 1490s. The panel may be compared with both the inner wings of an altar in the Metropolitan Museum of Art, New York, attributed to the Master of the Legend of Saint Barbara, depicting Abner's Messenger before David (inv. no. 32.100.56a)¹, and with the Saint Catherine of Alexandria, flanked by Saint Elizabeth of Hungary and Saint Dorothy², attributed to the Master of  Saint Gudule, sold, New York, Sotheby's, 26 January 2006, lot 6.

In the present work, the overall arrangement, the mannered posture of the figure, and, first and foremost, the proportion of the figure in relation to the architecture, are all organized in a fashion similar to the way in which the works of both the Master of the Legend of Saint Barbara and the Master of Saint Gudule are organized. However, in its eccentric manner this painting is more indebted to the latter³, whose work in general is easily recognisable by the lean mannered figures, the artfully complex poses, and heavy colouration. Also, the exuberant costume with its gold brocade and calligraphically curling plants, possibly drawn with the use of a stencil, may be compared with the equally ornate dress of the figure of Saint Dorothy in the ex New York painting by the Master of Saint Gudule.⁴ But although the expressive figural type with its contorted, grimacing facial expression is strongly reminiscent of his work, this painting has a certain naiveté which prevents an attribution to the Master of Saint Gudule himself. Still, the suggestion that this work emanated from the Brussels workshop of either Master is plausible.

The King's breast plate is inscribed with the motto 'respice finem' (reflect upon the end), and this Vanitas symbolism would undoubtedly have been understood by a contemporary audience. The onlooker was to constantly keep in mind the ephemeral nature of earthly existence. The richly embroidered clothing and elaborate gold crown suggest wealth and power, but the motto here functioned as a direct visual reminder of the end of the King's wealth, wisdom, and reign, and eventually, of his death.

We are grateful to Dr. Jan Piet Filedt Kok for his help in cataloguing this lot.

1. See M.J. Friedländer, Early Netherlandish Painting, vol. IV, Leiden/Brussels 1967, cat. no. 68, plate 63.
2. op. cit., cat. no. 71, plate 67.
3. The artist was named by M.J. Friedländer after a panel in the Louvre of St. Géry Preaching, which depicts in the background the facade of the cathedral church of saint Gudule in Brussels, op. cit., cat. no. 70, plate 66.
4. See also the Betrothal of the Virgin by the Master of the View of Saint Gudule in the Bisschoppelijk Museum, Haarlem (inv. no. B.M. 6343). See Anonieme Vlaamse Primitieven,  exhibition catalogue, p. 119, cat. no. 55, fig. 118.