克里斯潘·凡·德·布洛克之追隨者

The copper plate is flat. The paint surface is under a dirty and dull old varnish. There is some scuffing around the extreme edges. There is very good retention of the paint surface with lovely detail. One small rubbed area can be seen at upper left corner where copper is showing through. Under UV examination, nothing fluoresces except an area of possible retouching on stone slab at lower left and the aforementioned area upper left. This painting would benefit from a light cleaning and fresh varnish. Offered in a gilt wood frame with dark wood veneer; areas of the veneer are missing.
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.

The subject of the Last Judgment was one frequently treated by Crispin van den Broeck and his circle.  This version, like most of the others, reflects the profound influence Michelangelo had on Flemish art at the end of the 16th and early 17th centuries.  The composition is most closely related to an engraving by Crispin's daughter, Barbara van den Broeck, after a drawing by her father in the Musées Royaux des Beaux-Arts de Belgique, Brussels. The painting, however, is not an exact copy as there are significant differences between the compositions, particularly at the lower left.

The copper plate is dated 1605 on the reverse and also has the marks of its maker, Pieter Stas.  The other inscription may refer to the supplier of the material.