Imagine stumbling upon a hidden treasure, only to discover it’s not just one, but two masterpieces rolled into one. That’s exactly what happened to Belgian art dealer Klaas Muller, who, on a mere ‘hunch,’ snagged a painting at auction for less than €100,000—a steal compared to the millions Rubens’ works typically fetch. But here’s where it gets controversial: could this unassuming piece really be a two-in-one creation by the Flemish baroque master himself? And this is the part most people miss—hidden within the painting’s layers is a clever twist that challenges how we perceive art.
At first glance, the painting seems to play with your mind: is it a grizzled old man with a wild beard and a gaze clouded by wine, or a youthful woman with flowing hair and a crown of braids? For Muller, the real thrill wasn’t solving this visual puzzle but recognizing the unmistakable style of Peter Paul Rubens. Three years ago, this former gallerist from Brussels took a leap of faith at an online auction, acquiring what was billed as an undated study by an anonymous Flemish master. Little did he know, he’d just bagged not one, but two studies by Rubens in a single work.
The auction house, which Muller coyly describes as a ‘lesser-known’ one in northern Europe, had no idea of the treasure they were selling. Muller, ever the strategist, keeps their identity under wraps to avoid future bidding wars. But let’s pause here—is it ethical to keep such discoveries quiet, or should art lovers everywhere have a shot at these hidden gems?
Rubens’ studies typically sell for £500,000 to £1 million or more, making Muller’s find a potential goldmine. Yet, he admits it was a gamble. ‘I wasn’t 100% sure it was a Rubens,’ he told The Guardian, ‘but it felt so Rubens-esque—I couldn’t resist.’ His passion for the artist is undeniable; his home library is a shrine to Rubens, with books he pores over most evenings. ‘It’s a bit of an addiction,’ he confesses.
When the painting arrived, covered in grime, Muller’s instincts kicked in. The varnish had preserved it remarkably well, revealing a quality that screamed ‘masterpiece.’ But it wasn’t until art historian Ben van Beneden, former director of the Rubens House, examined it for months that Muller felt truly confident. ‘It’s very likely a Rubens,’ van Beneden said, though he cautions, ‘You must be careful—this wasn’t a market piece but a working study. Still, the craftsmanship is extraordinary.’
Here’s where it gets even more fascinating: the old man in the study is a recurring figure in Rubens’ work. From The Raising of the Cross in Antwerp Cathedral to The Adoration of the Magi in Madrid’s Prado Museum, this versatile character pops up as a saint, a king, and even a Pharisee. But could this be the long-lost prototype study of the old man’s head? Van Beneden thinks so, adding a layer of intrigue to Muller’s find.
Now, for the real twist: the woman hidden in the old man’s beard was painted first. Instead of creating an optical illusion, Rubens likely reused the paper from an earlier work, tracing over it. This practical yet genius move raises a question: was Rubens just being resourceful, or was he subtly challenging viewers to see beyond the surface?
Today, the painting hangs in Muller’s home, but it’s set to dazzle audiences at Brussels’ Brafa art fair on January 25. Even as a study, Muller believes it deserves a wider audience and hopes a museum will take it on long-term loan. But here’s the final thought: in an age where art is often about profit, does this discovery remind us of the joy of uncovering beauty for its own sake? What do you think? Is this a triumph of intuition, or just another example of the art world’s exclusivity? Let’s debate in the comments!
