Lot 1006 Dα

Joos van Cleve left behind a substantial œuvre comprising altarpieces, Madonnas, and a considerable number of portraits. His early works are characterised by the influence of Jan Joest, who painted the high altarpiece of Kalkar in 1505/08, and later by that of Hans Memling and Gerard David. Van Cleve was summoned to the court of Francis I as a portraitist in 1530, and his style would have a major impact on French portrait painting between 1530-1570. The present work, dated 1509, is still a far cry from these mature works, but remains highly significant in that it is the earliest portrait attributed to van Cleve. It was painted at a similar time to a portrait of Emperor Maximilian I housed in an identical frame. In both cases, the image and the frame form an inseparable unit.
The identity of the sitter remains unknown. The young man is depicted seated before a monochrome green background in a three-quarter view. The sitter's pose and the small format of the work evoke a sense of simplicity, which is further accentuated by his comparatively narrow shoulders. The artist dispenses with the expressive inclusion of the hands, emphasising the static qualities of the image. This effect in turn is strengthened by the calm way in which the young man gazes out towards the beholder. The work's frame bears the mysterious inscription “Et mach Ghesceien” - let it be done.