Follower of Dieric Bouts

The support consists of a single panel, cradled to the reverse, with a slight convex bow. The paint surface is secure and appears to be in good condition under an old discoloured varnish. Inspection under UV light is impeded by the varnish although some very minor scattered old retouching works do fluoresce. Offered in a tabernacle style carved gilt wood frame in good condition if a little rubbed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This panel would originally have formed the left side of diptych with a Christ crowned with thorns. Complete diptychs of this type from the Bouts workshops survive, for example, in the National Gallery, London, and in the Musée du Louvre, Paris. The finest extant Mater Dolorosa is probably that formerly in the Van der Elst collection, Vienna, and now in the Art Institute, Chicago (for which see M.J. Friedländer, Early Netherlandish Painting, Leyden & Brussels 1968, vol. III, no. 83f, plate 93).