Another combo emerged by coincidence. It was a painting I saw on somebody’s art website that immediately rang a bell.
The rather generic description of the file is Doors of triptych with donors. Depicted on the right are David receiving a message and on the left Solomon visited by the Queen of Sheba. The exotic setting is amplified by the man on the left in the right panel wearing an earring, which is quite unusual (imho). The side panels are located in the Metropolitan Museum of Art, the main panel is located in Rome, in the Colonna gallery (item 149 if I remember well). I have not been able to find a picture of the middle panel yet. It is supposed to depict the Adoration of the Magi (interesting, as the Magi seem to be a recurrent theme in the key paintings in my painting research)
Regarding the information on the side wings, I am relying for the most part on Wikipedia which is often incorrect. It doesn’t really matter that much, though, as it’s about the content, not the metadata.
The right panel, the Queen of Sheba visiting Solomon, seems inspired by the Judgment of Otto by Dieric Bouts (detail shown here):
The Queen of Sheba and David are recurring themes in medieval art, so not very unusual.
Now both paintings side by side. Note Otto himself, the kneeling woman and the two men at the back.
The painting by Bouts is dated 1473, the Master’s around 1480. The likeness can be a coincidence, obviously. The Master panel seems to echo the classic Magi visit, with kneeling characters and gold gifts.
Bouts’s characters are well painted but stiff and elongated, and their faces are emotionless. There is more expression in the Master’s faces but at the same time they are sloppy and almost cartoonish.
Both painters were active in Brabant (Brussels and Louvain), so there is also a regional connection.
According to Wikipedia, the Master of the Legend of St Barabara is sometimes associated with Aert van den Bossche. I have been looking at a number of paintings by all of them and there is a huge variety in style, so I can’t say for definite. Another thing to keep in mind is that the painters did not work alone but had workshops and several hands worked on the paintings. And, as mentioned before, copyright was not an issue and stock images were widely used.
In any case, this is something to store in the research where I am trying to figure out the relationships and influences between the painters. As mentioned before, I’m particularly interested in Hugo van der Goes and the Master of Moulins/Jean Hey and the latter’s connection with Anne de Bretagne, the Rolin family and Margaret of Austria.