Retour de la chasse au cerf.

A nobly dressed couple stand on a path outside their castle, welcoming their males returning from the hunt; landscape background with trees, a river and a distant castle, and a large area of gold. Set within a pink and blue ornamental capital.

The Spanish Forger was named from the first work identified as a fake in 1930. This was a panel in the style of Jorge Inglés, who was active in Spain in the 1440s but was English by birth. Since then, there have been suggestions that the forger was Portuguese, Belgian, Swiss, English, or, most plausibly, French. He seems to have worked over a long period, from the 1890s to the 1920s
Bella da Costa Greene gave him this name because one of the first works she exposed in 1930 had been previously attributed to Jorge Inglès, who had been active in Spain. The number of miniatures and panel paintings attributed to the Spanish Forger has steadily grown. In 1939 it was thought to be 14. By 1978, when New York’s Morgan Library curator William Voelkle held a show, it was 150. Mr. Voelkle, who is still at the Morgan, says his latest tally is 348. All are in the style of 14th- and 15th-century artists. He “suspects there are more examples in private collections and even some in museums, which have not been recognized.”
They are mostly painted on wood panels or old vellum, taken from an Italian antiphony of around 1400. Music remains on the reverse, while the front has been scraped before the illuminations were added. The verso of this folio retains the original music, probably the same manuscript used for most of the Forger's other known leaves (see Voelkle, Appendix II, group A).
With time, the Spanish Forger became a full-fledged artist, with his imitations being highly looked for.