The elusive Spanish Forger, active both as a painter and an illuminator, was most probably French and worked in Paris at the beginning of the twentieth century. The contribution discusses in depth the technical and scientific analysis of two works by the Spanish Forger that were examined at the Royal Institute for Cultural Heritage, Brussels. One is a triptych with a Coronation of a French king, an ingenious and striking piece that was made to give the impression of a small fifteenth-century transportable altarpiece. The other is a panel depicting a Knighting Ceremony, which is smaller and less ambitious but remarkably similar in its structure.