Quinten Massys

Mechelen, Margareta van Oostenrijk en haar Hof, July 26 - September 15, 1958, p. 7, no. 57 (as attributed to Quinten Massys);
Toledo, Palacio de Fuensalido, Pintura Flamenca de Tiempos de Carlios V, May - June 1969, pp. 72-3, no. 26, reproduced (as Quinten Massys);
Mechelen, Van Karel de Stoute tot Keizer Karel, 1973, no. 351 (as Quinten Massys). 

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com , an independent restorer who is not an employee of Sotheby's. This picture is painted on a single piece of oak which is completely un-reinforced on the reverse and the condition of the stretcher seems to be beautiful. The paint layer is thickly varnished and probably slightly dirty. Although it is evident that the condition of the paint layer throughout, including the soft colors of the beard, seem to be very good. It is in the beard in Christ's jaw, however, that some slight thinness and possibly restoration has occurred yet this seems to be the only weakness of note. The golden lines in the halo are very slightly broken up here and there, but the face itself, all of the details, the very thin strands of hair and every minute stroke in the eyelashes and elsewhere seem to be in very good state. It is tempting to suggest that the picture be cleaned yet at the same time there is a lovely and sophisticated finish to the picture at present which could also be retained.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

From a photograph, Dr. Larry Silver, the author of the 1984 monograph on Massys, considers Christ, bust length, to be an autograph work by Quinten, although he does not rule out the possibility of some studio participation.  We are grateful to Dr. Silver for his assistance. 

The present painting combines elements from two of Quinten Massys' bust length representations of Christ - Christ Blessing, in the Prado Museum, Madrid (see fig. 1), and Salvator Mundi, in the Koninklijk Museum, Antwerp (see fig. 2).  Although the present work was previously considered a variant of the Prado picture, Dr. Silver has suggested that this Christ may in fact pre-date the Prado version.  In both, Christ is represented bust length, He is turned towards the left, and His collar is embroidered with authentic Hebrew letters, which read, Jesus Son of Mary (?).  (The last word is difficult to be certain of because of the idiosyncrasies of  Hebrew writing.)  Massys' attempt in both pictures to include accurate Hebrew inscriptions is extremely unusual in Netherlandish art of this period.  As no ordinary person in the 16th century read Hebrew, it is likely that the artist consulted a scholar to help him.  The gold rays of the halo that emanate from Christ's head and the dark blue background link the present painting to the earlier Salvator Mundi.

In all three, the artist's work is evident in the subtle modeling of the flesh tones, which recalls Leonardo's sfumato, in the characteristic facial structure of Christ, in the fine brushstroke, and in the serenity and mysticism that characterize so many of Quinten Massys' religious paintings.