This excellent Ecce Homo has been attributed to the prominent Hispano-Flemish painter Juan de Flandes, painter at the court of Queen Isabella the Catholic, who may have worked for the Burgos lineage of the Merino family — ancestors of the current owners of the work, of notable noble rank and connected with the Castilian monarchy since the 15th century — hypothetical first owners of the work, which would have been intended for private devotion. The panel shows affinities with the successful models of the Flemish artist Albrecht Bouts, although its execution is closer to the Hispanic world, to which its genuine Italianate refinements are added. It is an impeccably executed work, with subtle flesh tones of great quality. The striking facial massiveness stands out, the broad neck with violet shadows and areas of great plastic mastery in the triangle of the sternal notch, as well as the detail of drops of sweat and tears that shine and run down with great expressive delicacy; the hands, in turn, with an implausible but incredibly original right little finger. All of this, even chromatically, is quite close to what can be seen in the Ecce Homo of the Cartuja de Miraflores, a work by Juan de Flandes. In both cases, it is a very similar and unmistakable Hispanic mode of representing sad eyes charged with introspection and emotional appeal, capable in turn of conveying to the viewer a feeling of internalized pain, without breaking down the gesture and without concessions to the theatrical. The attribution proposed by the CAEM refers to Juan de Flandes and has been endorsed by Dr Chiyo Ishikawa, curator at the Seattle Art Museum (USA), and by Dr Matthias Weniger, curator at the Bavarian National Museum, Munich, both experts on the work of Juan de Flandes. It has also been examined by Dr María Pilar Silva Maroto, curator at the Prado Museum and an expert in Castilian Hispano-Flemish painting, who has considered it a work of great quality, close to Juan de Flandes.