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Lot Essay
The present work once formed the right part of a diptych, almost certainly facing a Madonna and Child. The head of Saint Luke appears to have been inspired by the figure of Joseph of Arimathea in van der Weyden's Deposition (Prado, Madrid). It is notable for being a rare example of this subject where the use of silverpoint can be seen. Unusually, Saint Luke is depicted weeping as a foretelling of Christ's suffering.
In common with workshop practice at his date, another hand apart from that of de Coter appears to have worked on the panel. The refinement of Saint Luke's head contrasts with the bold treatment of the hands and it has been suggested that the latter may be by an artist working in the studio known as the Master of the Orsoy panels. A version of the present composition, of lesser quality, but without the hands and the silverpoint was formerly in Count Adolphe de Spoelberch's collection, Brussels,until sold, Sotheby's, London, 20 April 1977, lot 46. A third version in the collection of Lord Egerton at Tatton Park has Saint Luke's hands folded in prayer.
Only three signed paintings by de Coter are known. He is mentioned as a master in the Guild of St. Eloi in 1476 and later mentioned in Antwerp by Der Liggeren in 1493 as originating in Brussels.
Professor Catherine Périer d'Ieteren and Professor Didies Martens both date the present work to circa 1490-1500 and confirm the involvement of Colijn de Coter's studio.
In common with workshop practice at his date, another hand apart from that of de Coter appears to have worked on the panel. The refinement of Saint Luke's head contrasts with the bold treatment of the hands and it has been suggested that the latter may be by an artist working in the studio known as the Master of the Orsoy panels. A version of the present composition, of lesser quality, but without the hands and the silverpoint was formerly in Count Adolphe de Spoelberch's collection, Brussels,until sold, Sotheby's, London, 20 April 1977, lot 46. A third version in the collection of Lord Egerton at Tatton Park has Saint Luke's hands folded in prayer.
Only three signed paintings by de Coter are known. He is mentioned as a master in the Guild of St. Eloi in 1476 and later mentioned in Antwerp by Der Liggeren in 1493 as originating in Brussels.
Professor Catherine Périer d'Ieteren and Professor Didies Martens both date the present work to circa 1490-1500 and confirm the involvement of Colijn de Coter's studio.