Follower of Anthonis Mor

The catalogue illustration is representative. The support consists of three vertical oak panels which have only a very slight bow. The right join has come loose in the past but has now been secured. The left panel join is visible on the recto though not obtrusive, and is stable. The painting is offered in a wonderfully elaborate craved wooden frame as visible in the catalogue illustration. Whilst this has suffered some minor knocks and chips in the past, it is structurally sound. The paint surface is dirty and under a yellowed varnish. While the face appears a little flat, the armour and feathers are preserved better with the impasto still vibrant. To the naked eye some discoloured retouchings can be made out along the right panel join and an area of discoloured retouching upper left, as well as some scattered specks in the darker tones. What appears to be scattered uneveness in the varnish in the darker tones are in fact old retouchings over the varnish. When inspected with UV light the glossy varnish hinders a completely satisfactory analysis, but an older campaign of retouching can be made out in the face, where definition has been provided by some strengthenings and retouchings over the more abraded areas. The painting would benefit from a clean and removal of the old retouchings. As the work is overall dirty but good condition, other than certain passages in the face, particularly in the beautiful armour, careful cleaning and subsequent retouching would be very productive.
"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 portrayal of the Spanish king, Philip II, was most likely inspired by, and painted within only a short time of, Titian's famous full-length portrait now in the Museo del Prado, Madrid (circa 1550-51), in which the King also wears armour and rests his right hand on what appears to be the same helmet.¹  The turn of the head and gaze of the sitter, however, more closely resemble that of another full-length portrait of the king, this time not in armour, that is known in two versions; one in the Galleria Nazionale di Capodimonte, Naples, and the other in the Palazzo Pitti, Florence. Wethey attributed both of them to Titian and his workshop.²  The execution of the present portrait, however, has more in common with the Fleming Anthonis Mor who worked for Philip II from December 1554 until about 1561.

1. H. Wethey, The Paintings of Titian. II. The Portraits, London 1971, pp. 126-128, cat. no. 78, reproduced plates 174-6.
2. Ibid., pp. 128-129, cat. nos. 79 and 80, reproduced plates 179 and 180.